The Principles of Painting, Under the Heads of Anatomy Attitude Accident ... in Which Is Contained, an Account of the Athenian, Roman, Venetian and Flemish Schools. to Which Is Added, the Balance of Painters
The Principles of Painting, Under the Heads of Anatomy Attitude Accident ... in Which Is Contained, an Account of the Athenian, Roman, Venetian and Flemish Schools. to Which Is Added, the Balance of Painters
The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries ...
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The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++William Andrews Clark Memorial Library (UCLA)N020836London: printed for J. Osborn, 1743. [18],430p.; 8
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Add this copy of The Principles of Painting, Under the Heads of Anatomy, to cart. $950.00, very good condition, Sold by Sanctuary Books, A.B.A.A. rated 5.0 out of 5 stars, ships from New York, NY, UNITED STATES, published 1743 by J. Osborn.
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Seller's Description:
Very Good. 8vo (193 x 116mm). [xii], 300pp., [8], the Table, plus 2 plates: [1] A Demonstration of the Unity of the Object and [2] The Clair Obscure on Object(s), in 4 figs. Modern half calf over marbled paper covered boards, (title browned and with later ownership inscription "Henry Goldschmidt, " occasional spots; otherwise excellent). First English translation of Roger de Piles Cours de peinture par principes avec un balance de peintres published in 1708. Roger de Piles was a French diplomat, art theorist, amateur and art critic. This book, his last published work, contains the essence of his theory: his assertion that color, light, and shade had an equal value with drawing and his ideas on the uniqueness of the visual qualities of painting. In it, de Piles appended a list of fifty-six major painters in his own time, with whose work he had acquainted himself as a connoisseur during his travels. To each painter in the list he gave marks from 0 to 18 for composition, drawing, color and expression. This gave an overview of aesthetic appreciation hingeing on the balance between color and design. The highest marks went to Raffaello Sanzio and Rubens, with a slight bias on color for Rubens, a slight bias on drawing for Raphael. Painters who scored very badly in anything but color were Giovanni Bellini, Giorgione and remarkably Michelangelo Caravaggio with 16 on color and 0 (zero) on expression. It is the work of de Piles that the "je ne sais quoi" quality of the visual arts and its effect on the viewer finally receive mature consideration. De Piles's insistence on the separation of visual and literary criticism made him a pioneer in modern art criticism.