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Pigments
THE question of the medium in which the painter shall execute his pictures is an affair of temperament. Each artist must consult his own feelings in this matter and select the medium which is to him the most sympathetic.
On Framing Pictures
Artists are all aware of the vital importance of this matter. They know that a frame can either make or mar their picture, and they give the subject constant thought and attention.
On Schools
Personally, I am convinced that the synchronous arrival of the art school and the Decadence of Italian art was a mere coincidence, and that the modern system of art instruction.
The Arts And Crafts
There is only one path by which an individual or a nation can hope to attain to eminence in art, or even in the arts and crafts—and that path always leads direct to nature.
Mural Painting
Mural painting occupies a position alone and by itself, midway between the purely conventional decoration and the realistic easel picture.
On Vision
VISION! the key to the door of art; the power to see with the eyes of the soul! It is as necessary to the artist as faith to the true believer.
The Importance Of Fearlessness In Painting
One of our best painters recently assured me that cheek was his only technical asset. This was not true, but it was half true.
The Subconscious Servant
It is the subconscious servant, the eager helper, who performs for us daily a thousand little unrecognized services, saves our lives often by the rapidity of his action, and watches over us with constant care.
Temperament
A Talented young painter, who was just beginning to make his mark, drifted into my studio one day and threw himself into a chair in gloomy silence. He smoked morosely for five minutes, while I went on with my painting.
Character
IF you should ask a dozen painters what mental qualification was most essential to an artist's success, the chances are that every man of them would reply temperament—in other words, genius and imagination.
What Is A Good Picture?
Here, then, we have at least one in-fallible test, which can be applied to any work under discussion—that it shall be clearly and strongly stamped with the personality of its maker.
The True Impressionism
WHEN instantaneous photography was first discovered, some thirty years ago, high hopes of it were entertained by the artists. It was thought, for instance, that it would prove of inestimable value to painters.
The Future Of American Art
WE hear with increasing frequency to-day the statement that art is universal and without a country ; that, being the record of abstract beauty, it cannot be confined within stated geographical limits.
Art For Art Sake - Part 1
There is but one sense to which a painting may appeal, namely, the sense of sight. The broad division of the arts made by Lessing in his Laocoon is quite correct.
Art For Art Sake - Part 2
Was it worth while for Poussin to sacrifice the effect of his landscape composition, his painting of foliage, sky, air, his drawing and modelling of form, to so literatesque an incident as a voice from the tomb?
Art For Art Sake - Part 3
The painting of today, you will thus observe, like the poetry, shows deep love for nature per se, independent of human association.
Art And Color - Part 1
So deeply rooted in the Ecole des Beaux Arts in Paris is this teaching that a saying of one of its early defenders has passed into a proverb : Line is absolute ; color is relative.
Art And Color - Part 2
That an optical mixture may be obtained by the employment of complementary colors. If we look at a red spot for a few moments, and then shift the sight to white paper we shall see a faint green disk appear.
Art And Color - Part 3
In painting it is not at all necessary that the whole register of color from red to violet should be travelled through in the attempt to gain a harmonious result.
Art And Color - Part 4
Next to the low-toned pictures we would do well to regard those of deep rich color, for they again are oftener good than the bright ones, and for the same reason.
Art - Tone And Light-And-Shade - Part 1
THE subject of Tone follows naturally after that of Color. For it is intimately connected with color and, in a way, taken in the mass, it is color, or at the least is so regarded by some of the American painters.
Art - Tone And Light-And-Shade - Part 2
You may often see good instances of color-tone among the woven fabrics and embroideries of the East, which are being brought in abundance to our country at the present time.
Art - Tone And Light-And-Shade - Part 3
But while light-and-shade enters into the relations of everything in the visible world its presence in small quantities is little noted by us, perhaps for the very reason that it is so common.
Art - Tone And Light-And-Shade - Part 4
In the second place, the light falling from what-ever point of the compass the painter chooses; is usually concentrated upon some one object or space in the picture, and forms a well-defined point of high light or high color, which is in effect the same thing.
Art - Linear And Aerial Perspective - Part 1
THE word perspective is familiar to us all. With its meaning we have had more or less experience which may, or may not, be cause for congratulation upon our arrival at a subject concerning which we have some knowledge.
Art - Linear And Aerial Perspective - Part 2
At the present time, so far as my observation goes, linear perspective on the grand scale is not so much sought after as it was in the early part of this century.
Art - Linear And Aerial Perspective - Part 3
At two hundred yards distance purplish-red turns to orange-red, yellow becomes a warmer yellow bordering upon orange, ultramarine first turns to a purple and then quickly dissipates.
Paolo Uccello - The Rout Of San Roman
To the decorative charm of medieval tapestry, this picture adds the depth and solidity of early Renaissance painting.
Titian - Bacchus And Ariadne
Here the sense of bodily movement is conveyed with a fluency which had come from several generations of technical study after Uccello.
Jan Van Eyck - Jean Arnolfini And His Wife
The distinctive value of this early Flemish work lies not in brilliant colors or in spirited action, but in the exquisite precision with which it handles small realistic details of light and texture.
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