Six Lectures on Some Nineteenth Century Artists, English and French, Delivered at the Art Institute of Chicago; Being the Scammon Lectures for the Year 1907
Six Lectures on Some Nineteenth Century Artists, English and French, Delivered at the Art Institute of Chicago; Being the Scammon Lectures for the Year 1907
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1909 edition. Excerpt: ...his sitting down to "draw from Nature," there was not one of the things which he wished to represent that stayed for so much as five seconds together, but none of them escaped for all that. They are sealed up in that strange storehouse of his; he may take one of them out, perhaps, this day twenty years, and ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1909 edition. Excerpt: ...his sitting down to "draw from Nature," there was not one of the things which he wished to represent that stayed for so much as five seconds together, but none of them escaped for all that. They are sealed up in that strange storehouse of his; he may take one of them out, perhaps, this day twenty years, and paint it in his dark room, far away. Grant to the first considerable inventive power, with exquisite sense of colour; and give to the second, in addition to all his other faculties, the eye of an eagle; and the first is John Everett Millais, the second Joseph William Turner." Farther on in the same essay we read: "Towards the close of last century among the various drawings executed according to the quiet manner of the time, in greyish blue, with brown foregrounds, some began to be noticed as exhibiting rather more than ordinary diligence and delicacy, signed W. Turner. Gradually and cautiously the blues became mingled with delicate green, and then with gold; the browns in the foreground became first more positive, and then were slightly mingled with other local colours; while the touch, which had at first been heavy and broken, like that of the ordinary drawing masters of the time, grew more and more refined and expressive until it lost itself in a method of execution often too delicate for the eye to follow, rendering, with a precision before unexampled, both the texture and the form of every object. The style may be considered as perfectly formed about the year 1800, and it remained unchanged for twenty years. "During that period the painter had attempted, and with more or less success had rendered, every order of landscape subject, but always on the same principle, subduing the colours of Nature into a harmony of which the key-notes are...
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