Antiques Digest Browse Auctions Appraisal Home

Chippendal, Hepplewhite, Shearton, Adam And Other Georgian Types
At no place in the development of the English people is the democratic idea for which the Magna Charta stood more clearly demonstrated than in the furniture and furnishing ideas of the period known as the Georgian.
The Modern House
The problem of the modern house involves something more than merely providing a pretty, healthful, physically comfortable place to satisfy man's demand for shelter and rest.
The Individual House
The house is an individual thing. Each room in it is individual, for the varied functions of the rooms and the personal differences of those who may use them all influence each particular element in the unit.
The Blue Rapiers Of Dresden
Law Courts in. England and France have heard a good deal about Dresden porcelain lately, but I think the most rascally and Piquant stories have yet to be told.
The Double-Louis Mark
The Musee de Sevres did not begin to exist at all until the year 1805, and the making of soft Sevres porcelain at all ceased in the year 1804.
Cima da Coneglano (Giovanni Battista Cima) (c.1459 c.1517)
Venetian painter, one of the many pupils of Giovanni Bellini, on whose art his own is based. He was a native of Conegliano, but was probably in Venice by 1489.
Historic Art Periods - Part 1
Life is action; its result is evolution, and out of this ceaseless activity comes man's universal impulse to create. Mental life is constantly changing. Environment also is subject to constant variation; hence man's needs are continually presented in different forms.
Historic Art Periods - Part 2
It is a grave mistake to believe that all things are classic which seem to represent the forms or shapes or motifs of the classic period.
Thomas Gainsborough (1727-88)
British portraitist and landscape painter born in Sudbury, Suffolk, the son of middle-class parents. A precocious boy, at the age of fourteen he was sent by his parents to London.
Paul Gauguin (1848-1903)
French Post-Impressionist painter and graphic artist whose work was of tremendous importance in the formulation of various early twentiethcentury schools.
Hans Memling (Memline) (c.1435-94)
Flemish painter of German origin, born near Mainz, in Selingenstadt or Momling. He may have studied with Stefan Lochner in Cologne and was perhaps in Brussels working with Rogier van der Weyden c.1460.
Giorgione (Giorgio, or Zorzo Barbarelli del Castelfranco) (1478-1510)
One of the great painters of the Venetian High Renaissance about whom perhaps less is actually known than any artist of comparable stature.
Bondone di Giotto (1266?-1337)
One of the greatest figures in the annals of Italian painting, Giotto was largely responsible for stylistic innovations that ushered in a new era in art history.
Goya (1746-1828)
Goya emerged from the moribund Spanish tradition of the Ancien Regime and through his paintings and etchings profoundly affected Western art from his day to the present, especially the divergent movements of impressionism and Expressionism.
The term impressionism, or impressionist painting, describes a kind of painting which is flecked and somewhat formless, as opposed to that which is linear and clearly silhouetted.
Leonardo da Vinci (1452-1519)
The renown of the Florentine painter Leonardo throughout the history of art is paralleled only by that of Michelangelo and Raphael.
Fra Fillippo Lippi (c.1406-69)
He stands at the head of a group of early Renaissance Florentines who took into account the formal and technical innovations of Masaccio and the other scientific painters.
Velazquez (1599-1660)
Court painter to Philip IV of Spain. A major Baroque painter and one of the most profound interpreters of the artistic experience of the eye.
Claude Monet (1840-1926)
Outstanding French Impressionist landscape painter. An artistic prodigy, Monet began his landscape study at his home, Le Havre.
Michelangelo (1475-1564)
Florentine sculptor, painter and architect. With Leonardo da Vinci, Raphael and Titian, he was one of the greatest and most influential masters of the Italian High Renaissance.
Metsys (Matsys, Massys), Quentin (1466-1530)
Flemish painter whose art formed the transition from the spirituality of the fifteenth century to the secularism of the sixteenth.
Edouard Manet (1832-83)
Precursor of French Impressionism. Manet's constant exploration of new modes of vision brought the first clear break with the Renaissance manner of presenting nature.
An early sixteenth-century style originally described as a perversion of the art of the Italian High Renaissance under the impact of the North.
Andrea Mantegna (1431-1506)
Most important north Italian painter outside Venice in the fifteenth century.
Nicolas Poussin (1594-1665)
The father of French painting and, after Raphaei, probably the greatest painter in the classical tradition.
Martini Simone (1284?-1344)
One of the most original and influential painters of the fourteenth-century Sienese school, His art owes most to Duccio though there is no evidence that he was Duccio's pupil.
Benjamin West (1738-1820)
American painter of portraits and historical subjects active most of his life in England. Born in what is now Swarthmore, Pa.
Weyden, Rogier van der (Rogier de la Pasture) (1399/1400-1464)
After Jan van Eyck, the greatest of the Flemish primitives. A master of tragic pathos, he dominates a major current in Flemish art which stands opposed to the pictorialism of van Eyck.
Whistler, James Abbott McNeill (1834-1903)
American expatriate painter and etcher. Born in Lowell, Mass. and active mostly in England, he was one of the most important figures in the development of modern art.
Lorrain, Claude (Claude Gellee) (1600-82)
Founder of the romantic or picturesque tradition in French landscape painting.
The Photographic Principle
Some philosophers contend that to the existence of light alone we owe the beautiful effects produced by the Photogenic art, while others give sufficient reasons for doubting the correctness of the assumption.
The Daguerreotype Process
The process of taking Daguerreotype pictures differs very materially from all others of the photographic art, inasmuch as the production of the image is effected upon plates of copper coated with silver.
[Page: 51  |  52  |  53  |  54  |  55  |  56  |  57  |  58  |  59  |  60  |  61  |  62  |  63  |  64  |  65  | 
66  |  67  |  68  |  69  |  70  |  71  |  72  |  73  |  74  |  75  |  76  |  77  |  78  |  79  |  80  | 
81  |  82  |  83  |  84  |  85  |  86  |  87  |  88  |  89  |  90  |  91  |  92  |  93  |  94  |  95  | 
96  |  97  |  98  |  99  |  100  |  More Pages ]

Please contact us at