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Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter — John Shaqi

Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the PainterGovett, Ernest

Philosophy

Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter

Name: Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter
Author: Govett, Ernest

Govett, Ernest

Art; Painting

A detail from this picture forms the Frontispiece. It will be
    observed that in the complete painting the central figure apparently
    wears a startled expression, but that this is entirely due to the
    surroundings and action, is shown by the substitution of the face of
    the central figure for that of the Virgin in the Sistine Madonna,
    Plate 8. (See Page 139.)

  PLATE 12.--PORTRAIT HEADS OF THE GREEK TYPE, FOURTH CENTURY, B.C.
    (See Page 145)                                                   130

    (a). Head of Plato. (Copenhagen Museum.) (b). Term of Euripides.
    (Naples Museum.)

  PLATE 13.--PORTRAIT HEADS OF THE TIME OF IMPERIAL ROME. (SEE PAGE
    145)                                                             146

    (a). Vespasian. (Naples Museum.) (b). Hadrian. (Athens Museum.)

  PLATE 14.--SACRIFICE OF IPHIGENIA, FROM A POMPEIAN FRESCO. (ROUX
    AINÉ'S HERCULANUM ET POMPEI, VOL. III)                           160

    This work is presumed to be a copy of the celebrated picture of
    Timanthes, in which the head of Agamemnon was hidden because the
    artist could see no other way of expressing extreme grief without
    distorting the features. (See Pages 168 and 339.)

  PLATE 15.--ALL'S WELL, BY WINSLOW HOMER. (BOSTON MUSEUM, U. S. A.) 176

    An instance where the permanent beauty of a picture is killed by an
    open mouth. After a few moments' inspection, it will be observed
    that the mouth appears to be kept open by a wedge. (See Page 176.)

  PLATE 16.--HERCULES CONTEMPLATING DEATH, BY A. POLLAIUOLO. (FRICK
    COLLECTION, NEW YORK.)                                           190

    The only known design of this nature which appears to exist in any
    of the arts. (See Pages 190 and 343.)

  PLATE 17.--ARCADIAN LANDSCAPE, BY CLAUDE LORRAINE. (NATIONAL
    GALLERY, LONDON)                                                 198

    A fine illusion of opening distance created by the precise rendering
    of the aerial perspective. The illusion is of course unobservable in
    the reproduction owing to its small size and the want of colour.
    (See Page 198).

  PLATE 18.--LANDSCAPE, BY HOBBEMA. (MET. MUSEUM, NEW YORK)          210

    A fine example of Hobbema's work. A strong light is thrown in from
    the back to enable the artist to multiply his signs for the purpose
    of deepening the apparent distance. (See Page 202.)

  PLATE 19.--LANDSCAPE, BY JACOB RUYSDAEL, (NATIONAL GALLERY,
    LONDON)                                                          220

    Example of an illusion of movement in flowing water. (See Page 204.)


    PLATE 20.--THE STORM, BY JACOB RUYSDAEL. (BERLIN GALLERY) 232

    Exhibiting an excellent illusion of motion, due to the faithful
    representation of a series of consecutive movements of water as the
    vessel passes through it. The illusion is practically lost in the
    reproduction, but the details of design may be observed. (See Page
    206.)

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Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter

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