Ce livre historique peut contenir de nombreuses coquilles et du texte manquant. Les acheteurs peuvent generalement telecharger une copie gratuite scannee du livre original (sans les coquilles) aupres de l'editeur. Non reference. Non illustre. 1869 edition. Extrait: ...iv. p. 65 school of Mantegna and his followers, of using clay models for similar foreshortenings. If the St. Francis may be said to foreshadow the characteristics of the painter in the qualities hitherto considered, the resemblance is still more complete as ...
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Ce livre historique peut contenir de nombreuses coquilles et du texte manquant. Les acheteurs peuvent generalement telecharger une copie gratuite scannee du livre original (sans les coquilles) aupres de l'editeur. Non reference. Non illustre. 1869 edition. Extrait: ...iv. p. 65 school of Mantegna and his followers, of using clay models for similar foreshortenings. If the St. Francis may be said to foreshadow the characteristics of the painter in the qualities hitherto considered, the resemblance is still more complete as regards the method of oil painting which it exhibits. It was probably in Mantua, during a residence of two years, that Correggio adopted that solid, full manner of painting which is more or less apparent in his earliest known works; the system of using a thick, rich vehicle for shadows was common, as we have seen, to most painters of the time, but the smooth solidity of his lights was new, and may be said still to remain peculiar to him. The technical conditions of this surface will be considered hereafter; its early adoption by Correggio may perhaps be traced to the method of some painters of the Mantuan school but little known, and with whom it may have been an accidental attribute. The remaining works of Leonbruno, for example, sometimes exhibit a fulness of "impasto" which, if adopted sufficiently early (and he was five years older than Correggio), may have influenced the style of the master. The flesh throughout the picture of St. Francis is smooth yet solid, nowhere so thin as to show an outline underneath, and nowhere hatched. The flow and fusion of the substance in the flesh tints, without apparent handling, indicates the use either of a half-resinified oil or of an oil varnish--probably the finest amber varnish of the Flemish masters. Where the vehicle abounds, for example, in lucid darks, as is generally the case in Correggio's works, the surface has frequently that blistered, roughened appearance so often before described...
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Add this copy of Materials for a History of Oil Painting to cart. $25.72, new condition, Sold by Ingram Customer Returns Center rated 5.0 out of 5 stars, ships from NV, USA, published 2022 by Legare Street Press.
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Add this copy of Materials for a History of Oil Painting Volume 1 to cart. $42.00, fair condition, Sold by Mullen Books, Inc. ABAA / ILAB rated 4.0 out of 5 stars, ships from Marietta, PA, UNITED STATES, published 1847 by Longman, Brown, Green, and Longmans.
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Fair. Spine very worn with minor loss, but cracking, corners worn and exposed, front cover is loose, one signature is crooked, sold as a reading copy of the first edition. 1/2 leather. 561 pp.
Add this copy of Materials for a History of Oil Painting to cart. $54.41, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 2022 by Legare Street Press.
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