Prints and Their Makers: Essays on Engravers and Etchers Old and Modern

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Fitz Roy Carrington
Century Company, 1912 - 268 頁
 

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第 230 頁 - ... that beyond the town, as one follows the slow length of a white cliff, to where it meets the horizon, is a very great world that turns from night to day, from day to night, interminably, unchecked and unspeeded by the passing storms of human glee and human woe. La Seine a I' 'Embouchure du Canal SaintMartin is more commonplace in subject, the river and its barges having entered into the artistic life of nearly all French etchers ; but how few could pass with such sureness of plan, such precision...
第 132 頁 - WHATEVEE is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or i is conversant about terrible objects, or operates in a manner ' analogous to terror, is a source of the sublime ; that is, it is productive of the strongest emotion which the mind is capable of feeling.
第 73 頁 - I am sure you would be infinitely delighted with the assembly, and some are so very well don to the life, that they may stand in competition with the best paintings.
第 73 頁 - This were a cheaper and so much a more useful curiosity as they seldom are without their names, ages and eulogies of the persons whose portraits they represent. I say you will be exceedingly pleased to contemplate the effigies of those who have made such a noise and bustle in the world, either by their madness and folly, or a more conspicuous figure by their wit and learning. They will greatly refresh you in your study and by your fireside when you are many years returned.
第 205 頁 - Since you know M. Meryon," the latter wrote to Baudelaire (April 29, 1860), "tell him that his splendid etchings have dazzled me. Without color, with nothing save shadow and light, chiaroscuro pure and simple and left to itself: that is the problem of etching. M. Meryon solves it magisterially. What he does is superb. His plates live, radiate, and think.
第 205 頁 - By the severity, the delicacy, and the certitude of his design, M. Meryon recalls what is best in the old aqua-fortistes. I have rarely seen represented with more poetry the natural solemnity of a great capital. The majesties of accumulated stone, the spires pointing a finger to the skies...
第 132 頁 - When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are, delightful, as we every day experience.
第 241 頁 - And so we pass to two courtyard scenes— belonging, like the Rouen subjects, to the year 1906 — the Cour, Normandie, and Les Blanchisseuses. In both we find the artist becoming more adept in using broad and balanced disposition of light and shade to give not merely chiaroscuro but the suggestion of actual color, and more skilled in adding exquisiteness of detail to refined truth of visual impression. Les Blanchisseuses...
第 235 頁 - Lepere's artistic equipment, the next in significance is the clarity and precision of his utterance. There is no vapor in his imagination ; he is a poet as well as an artist, with a poet's sensitiveness to definition of form. All that he lacks is the intensity of emotion that sweeps away interest in everything but the personal feeling. We suspect that the world for him will always be "full of a number of things," and that he will not be able to forget any of them in the exaltation of profound self-absorption.
第 233 頁 - This strong sense of appropriate and austere design, supported by such an easy grace of handling, is unusual in any age, and especially in our own, when grace and austerity find it almost impossible to live together in one man's work.

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