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The Development Of The Artist As Revealed In Art
IT is not only that the personality and experience of the artist mold all details of his art, while that in turn reveals his essential character. When an artist has worked through a long period of time, the different aspects of his development find full expression in the works coming in successive periods.
Defining Forces Behind Art: The Epoch
WE have seen how art and the personality of the artist explain each other in the changing aspects of a man's development. That personality, however, which is always a molding force behind art, is itself in part the expression of still deeper causes.
Defining Forces Behind Art : The Race
THE spirit of the age is contained, after all, in something larger than itself, Epochs are but moments in the life of the race. There is a deep, organic basis in the life of a people which, once established, shows in its every expression. We have seen how a racial character is gradually developed under the joint influence of environment and the actions of men.
The Unique Function Of Each Fine Art
WE have now come to the heart of our study—the effort to define the specific function of each of the fine arts. That each has a distinctive appeal is evident merely in our varying appreciation of them. With most persons, some one art is apt to have a meaning beyond all the others, thus indicating a harmony between the gifts of the student and the specific function of the art preferred.
The Meaning And Function Of Sculpture
WE shall take sculpture first, in the effort to show the function of each of the arts, because it is the most severely limited of them all, and therefore most satisfying within its limits.
The Meaning And Function Of Painting
THE transition from sculpture to painting is made by easy steps through relief work; and it is possible that it may have been so made historically, thus giving rise to painting. The reclining goddesses of the Parthenon, if completely finished in the round, were planned, as we saw, to be placed against the temple and seen from in front and below.
The Meaning And Function Of Music
OF all the fine arts, music is the most difficult to define for the intellect, be-cause it is the most subtle, seeming to produce its effects as by a miracle. Indeed, that a mere succession of ordered sounds, varying in pitch, loudness and quality, should do to the human spirit what music accomplishes, must always remain a marvel.
Music And The Spirit
ONE aspect of distinctly intellectual response to music lies in the analytical study of its compositions. To work out the combination of motives in a Wagner opera, or analyze the complicated harmonies of a Beethoven symphony, is an intellectual process which may give delight.
The Meaning And Function Of Poetry
WE have found Music, presenting its dynamic series of sound forms in time relation, strikingly contrasting in function with sculpture and painting, the arts portraying forms in space relations. We turn now to the third great type of ideal art, literature, studied in its highest aspect, poetry.
The Relation Of Poetry To Music
SO far we have been studying poetry in comparison with sculpture and painting; let us turn now to its relation to the other great type of art-music.
The Unity Of The Arts
IN striving to see clearly the specific function of each of the arts, we must beware of forgetting that the human spirit is, after all, a unity, and therefore every expression of it is a unity.
Dangers Of Art
ART can readily be misused, and there are certain dangers even in great art, in-separable from its very nature and the methods it employs. Throughout our discussion the element of sensuous beauty has been emphasized; it is deeply significant, but as a means rather than an end.
Beauty And The Life Of Appreciation
IT is because art appeals to the whole human spirit-senses, imagination, emotions,intellect, that it is so difficult to translate into terms of the understanding, as has been evident in all our discussion. We appreciate much that we never understand. It is possible to respond deeply to the appeal of music, and yet be quite in ignorance of principles of melody and harmony.
The Study Of Beauty In Nature And Art
THE life of appreciation is a unity; to touch one aspect of it is to influence the whole. An awakening in personal love deepens One's response to the beauty of nature, as is indicated even in the conventional allusions of poetry to the lover wandering pensively in wood and field.
Art For Life's Sake
SINCE art has its own aspects of superiority, as compared with nature, it fulfills its own service for the spirit. Something of the same healing power, exercised by the beauty of nature is in its influence, while it is at least equally exalting, lifting the spirit and stimulating to great action.
The Florence Of Donatello
THE sculptor Donato di Niccolo di Betti Bardi, better known by the name of Donatello, was born, it is believed, in the year 1386, in the city of Florence, and died in the same city in 1466, his life thus covering a period of eighty years.
Donatello - To The Year 1426
IT now becomes our business to fit the subject of this essay into his environment, the Florence which we have been endeavouring to realise to ourselves. Our aim will be to see him as a man, living and working among his fellows ; as comrade, friend, craftsman, and citizen.
Donatello - From 1426 T0 1444
THE tomb of Pope John XXIII. was one of a series which the two collaborators undertook. It is difficult to determine exactly and in detail how the labour was divided between the partners.
Donatello - From 1444 To 1406
THE year 1444 saw the close of this second Florentine period. The fame of the master had spread yet further, and in that year he accepted an invitation to Padua to undertake the decoration of the high altar in the church of San Antonio ; and this led to the further commission for an equestrian monument in bronze to a noted condottiere, by name Gattamelata, who had died the preceding year.
Donatello - The First Florentine Period
IN the first part of our work we have viewed Donatello from the outside, as citizen and craftsman, taking his part as such among his fellow-men. There remains for us now to make a more intimate examination of the man by way of his works, which, to judge justly, we must look upon as so many thoughts of his brain and aspirations of his nature reduced to concrete form.
Donatello - With Michelozzo, And At Siena
AT the entrance of the third decade of his life, Donato stepped into the second period of his artistic career, that of his association with Michelozzo. The works thus done in association were principally a series of tombs-those of Pope John XXIII., and of the Cardinal Brancacci aforesaid, and also, according to some authorities, that of the poet Bartolommeo of Aragazzi.
Donatello - The Second Florentine Period
DONATELLO'S return to Florence, as already noted, was marked by a more direct classical form bestowed on much of his work. But, as before, we can trace more moods than one affecting his style, and, as it were, simultaneously.
Donatello - At Padua, And The End
DONATELLO journeyed from Florence to Padua in the year 1443, and, according to the recent researches of Signor M. A. Gloria, the number and respective dates of his works for that city are as follows...
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