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The Last Supper - Leonardo Da Vinci
It is said that Leonardo threatened to paint the face of the complaining prior as the Judas in his picture, but we know that he did not.
Alexander And Diogenes - Sir Edwin Landseer
The story of the picture. Into the streets of Athens, bright with the life and brilliant colors of its gayly dressed people, came the uncouth figure of the philosopher Diogenes, ridiculing all that the Athenian held most dear. On his head he carried the tub in which he ate and slept.
Rubens's Sons - Peter Paul Rubens
The story of the picture. The paintings of Peter Paul Rubens were in such demand that he employed a great number of skilled assistants to help him paint them. He himself worked some on each picture, making the first sketch and adding the finishing touches, but in many of them his carefully trained assistants put in the details of costume, background, and even the hands and faces.
Song Of The Lark - Jules Adolphe Breton
The story of the picture. It is said that the artist, Jules Breton, was walking in the fields of France early one morning when suddenly there burst forth the joyous song of a lark singing high in the air. As he looked about him, trying to discover the bird, he soon found it by following the rapt gaze of a peasant girl who had stopped to look and listen.
Beata Beatrix - Dante Gabriel Rossetti
The story of the picture. Long ago, in the age of chivalry, there lived a beautiful Florentine lady named Beatrice Portinari. A great poet, Dante, has described her to us from her child-hood to her death.
Life Of Hogarth
WILLIAM HOGARTH, or Hogarth--painter, engraver, and satirist--was born in Bartholomew Close, London, on the 10th of November, 1697, and was baptized in the neighbouring church of St. Bartholomew, where the record is still preserved.
Hogarth As Artist, Chronicler, And Moralist
WHETHER Hogarth reach'd the noblest point of Art may be questioned without injustice. Art is, fortunately, a term of catholic application within reasonable limits, and it is not essential that we should find in Hogarth the qualities which made for greatness in other artists in order to assign him an important place among our English painters.
William Hogarth As Chronicler
Hogarth's position as a chronicler is indisputably higher than his place as an artist. In the latter respect Sir David Wilkie, who painted similar subjects in the following century, is easily his superior; but Wilkie never attained the infinite variety, the humour, pathos, and satire, which stamp Hogarth's pictures as mirrors of contemporary life.
William Hogarth As Moralist
A large number of Hogarth's pictures, including nearly all his best works, were painted with the definite object of calling attention to the vices of his time, either by direct portrayal or by the conveyed suggestion of satire.
William Hogarth's Illustrations
FORTUNATELY for those who prefer to study Hogarth in the originals, his paintings and prints, almost without exception, remain in his native country ; the most notable of them being still in London, either in the public galleries or among a few semi-private and private collections.
William Hogarth - The Distressed Poet
The Distressed Poet is a picture belonging to the same year as the last-named. Mr. Austin Dobson's note as to its history (I am indebted to his book for particulars as to private owners throughout) states that it was given by Hogarth to a Mrs. Draper, at whose death it was bought for five guineas by a solicitor named Ward.
William Hogarth - The Portrait Of Captain Thomas Corman
The Portrait of Captain Thomas Coram represents Hogarth's highest achievement in direct portraiture. It is a large, full-length picture, and for colour and composition bears favourable comparison with the work of any contemporary portrait-painter.
William Hogarth - Portrait Of Garrick As Richard III
The next illustration we have to consider is the Portrait of Garrick as Richard III., painted - in 1746. Hogarth several times painted the famous actor, for whom he had unstinted admiration ; one picture, Garrick in the Green Room, shows him as the central figure in a large portrait group.
William Hogarth - The March To Finchley
The March to Finchley, with which the selection concludes, is another instance of a crowded and animated picture; but here the general result is hardly so good as in the last-named, a more confused effect being created, as if the artist had attempted to delineate more than the scope of the canvas permitted.
English Water Coulour Painters - Introductory
ENGLISH artists have always taken so kindly to work in water colour, they have shown such ready mastery of its possibilities, and the beautiful results they have secured have been so warmly and so sincerely admired, that it has seemed quite natural to speak of water colour painting as the distinctive national art of England.
The Topographical Draughtsmen - English Water Colour Painters
THE fact that no great works of art in water colour were produced in England till towards the end of the eighteenth century, must not lead us to the conclusion that the late development of British art was due merely to the absence of the colour and paper manufacturer.
English Water Coulour Painters - Father And Son
There is not more difference between the work of the gossiping antiquary and that of the great world poets than there is between the meritorious draughtsmen of whom we have been speaking and the cluster of great artists whose works constitute the glory of the English Water Colour School.
Thomas Girtin - English Water Coulour Painters
HANGING by the side of Girtin's Rievaulx Abbey, Yorkshire (499) at South Kensington, is a little drawing by Hearne of the Isle of Wight, from Lymington, Hampshire (1081-892). A comparison of the two drawings will enable us to appreciate the difference of aim which separated the older from the younger generation of landscape painters.
Turner's Early Work (1775-1802) - English Water Colour Painters
To turn from the group of Girtin's drawings at South Kensington to the works which Turner produced during Girtin's life, makes one instantly aware of the striking contrast between the individuality of the two artists. In contrast with the boldness and simplicity of Girtin's View on the Wharf and Kirkstall Abbey, Turner's Warkworth Castle and Bridge over the Usk look timid and over subtle.
Turner's Best Period (1802-1815) - English Water Colour Painters
THE depth and richness of tone of the Warkworth Castle was repeated on a larger scale and with more conscious mastery in the Edinburgh from Calton Hill, exhibited in 1804, and now in the National Gallery. This drawing may have helped to convince Turner that such effects are more suitably treated in oils.
Turner's Later Work (1815-1851) - English Water Colour Painters
AFTER 1815 a change begins to come over the spirit of Turner's work. In 1815 he exhibited what he seems to have regarded as his most perfect effort to embody the new poetry of nature in a picture ; he also exhibited a gaudy and theatrical pseudo-classical picture, the Dido building Carthage ; or, the Rise of the Carthaginian Empire.
Rowlandson And Blake - English Water Colour Painters
THERE is often supposed to be some peculiar fitness between water colour painting and landscape, and certainly our great landscape painters have shown more readiness to work in water colour than our great figure painters. But that water colour is quite as suitable for figure subjects as for landscapes is proved by the works of Jordeans, van Ostade and Dusart in the Print Room.
Cotman, Prout, Cox, And De Wint - English Water Colour Painters
It is doubtful whether Cotman, Prout, Cox, or De Wint had as much choice in the ordering of their lives as Turner had. Indeed, all the evidence goes to show that they strove for immediate professional success as strenuously as Turner.
Of Hunt, Copley Fielding, And Others - English Water Colour Painters
THERE was a way of looking at art which found great favour towards the middle and end of the last century, and which is still far from obsolete.
Later Figure Painters - English Water Colour Painters
By about 1840, people were beginning to tire of the imitative and mechanical art which simply reproduces in a plausible way the external characteristics of recognised master-pieces. The systematisers had done their work too well ; and the intelligent public turned away surfeited from the sham Reynoldses, sham Claudes, and sham Turners, whose manufacture had become so easy.
Conclusion - English Water Colour Painters
THE remark has often been made that we are indebted to the water colour painters for the only adequate expression of the peculiar qualities of the English nation which is to be found in art.
Life Of Antonio Da Correggio
AT the time when Vasari wrote his biography of Correggio very little was known of that artist's personal life ; and his biographer, while fairly chronicling some of his best-known pictures, leaves but a hazy, and in some ways a false idea of the man.
Antonio Da Correggio - His Works
THE art of Correggio is less divided into epochs of style than that of any other painter. His easel pictures throughout show much the same characteristics, and some of his greatest masterpieces were painted quite early in his career.
Antonio Da Correggio - Frescoes
An artist's panel pictures prove his delicacy and finish of touch, and his ideality in composition, but his frescoes prove his power and grandeur of design. Up to the year 1518, Correggio had been refining his style- in oil painting, but now he was to have a wider field of art.
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