Venetian Colour PDF Download
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Author: Paul Hills
Publisher: Yale University Press
ISBN: 0300081359
Category : Art
Languages : en
Pages : 268
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Book Description
Discusses the relation of Venetian color to social, cultural, and environmental factors
Author: Paul Hills
Publisher: Yale University Press
ISBN: 0300081359
Category : Art
Languages : en
Pages : 268
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Book Description
Discusses the relation of Venetian color to social, cultural, and environmental factors
Author: John Gage
Publisher: Univ of California Press
ISBN: 0520222253
Category : Aesthetics
Languages : en
Pages : 344
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Book Description
An encyclopaedic work on color in Western art and culture from the Middle Ages to Post-Modernism.
Author: Johann Wolfgang von Goethe
Publisher:
ISBN:
Category : Color
Languages : en
Pages : 486
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Book Description
Author: Johann Wolfgang von Goethe
Publisher:
ISBN:
Category : Architecture
Languages : en
Pages : 512
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Book Description
By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory—Goethe never even mentions it—that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern. By the time Goethe's Theory of Colours appeared in 1810, the wavelength theory of light and color had been firmly established. To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon exhaustive personal observation of the phenomena of color. Of his own theory, Goethe was supremely confident: “From the philosopher, we believe we merit thanks for having traced the phenomena of colours to their first sources, to the circumstances under which they appear and are, and beyond which no further explanation respecting them is possible.” Goethe's scientific conclusions have, of course, long since been thoroughly demolished, but the intelligent reader of today may enjoy this work on quite different grounds: for the beauty and sweep of his conjectures regarding the connection between color and philosophical ideas; for an insight into early nineteenth-century beliefs and modes of thought; and for the flavor of life in Europe just after the American and French Revolutions. The book does not have to be studied to be appreciated. Goethe's subjective theory of colors permits him to speak most persuasively of color harmony and aesthetics. In some readers these notions will evoke a positive response on their merits. Others may regard them as pure fantasy, but savor the grace and style of their exposition. The work may also be read as an accurate guide to the study of color phenomena. Goethe's conclusions have been repudiated, but no one quarrels with his reporting of the facts to be observed. With simple objects—vessels, prisms, lenses, and the like—the reader will be led through a demonstration course not only in subjectively produced colors, but also in the observable physical phenomena of color. By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory—Goethe never even mentions it—that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.
Author: Giorgio Riello
Publisher: Bloomsbury Publishing
ISBN: 1350405639
Category : History
Languages : en
Pages : 281
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Book Description
This major volume aims to re-colour the European world of dress, c.1300-1800. New dyes created one of the most important visual experiences of the period, yet their story has been side-lined by a focus on visual experiences shaped by the high arts. Meanwhile, theatrical productions and period films still abound with broad assumptions about the growing dominance of black clothing for elites during the period, while ordinary people are imagined having worn coarse greys and bleached garments. This volume presents clear evidence that even the clothing of the middle classes could be much more expensive than paintings, and that coloured clothing and accessories were ubiquitous across society. Contributors shed new light on the economic, environmental, and cultural dimensions of colour in dress. The range of dyes expanded considerably in the sixteenth and seventeenth centuries, drawing on Asian and Mediterranean knowledge, new collections of recipes, and the greater diversity of plants available through New World trade. Working creatively with organic plant, animal, and mineral materials to make colours involved considerable knowledge, pleasure and skill. The creation of colour through dyes thus reveals a whole range of global agricultural and craft technologies that can inspire future material worlds and transforms our understanding of Europe ́s cultural heritage.
Author: David Alan Brown
Publisher: Yale University Press
ISBN: 9780300116779
Category : Art
Languages : en
Pages : 364
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Book Description
Presents a survey of sixty Venetian Renaissance paintings of the calibre of Bellini and Titian's "Feast of the Gods" in Washington and Giorgione's "Laura and Three Philosophers" in Vienna.
Author: Charles Robert Leslie
Publisher:
ISBN:
Category :
Languages : en
Pages : 578
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Book Description
Author: Charles Robert Leslie
Publisher:
ISBN:
Category :
Languages : en
Pages : 606
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Book Description
Author: Katie J. T. Herrington
Publisher: Boydell & Brewer
ISBN: 1783272597
Category : Art
Languages : en
Pages : 384
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Book Description
The correspondence of Joanna and George Boyce, and Joanna's husband Henry Wells (published as The Boyce Papers) gives us a rare insight into the milieu of the artists of the mid-Victorian period. Many different aspects of mid-nineteenth century artistic life are recorded in their letters, providing surprising detail which is highly relevant to the study of their contemporaries. Victorian Artists and their World is a series of case studies based on this material. This book brings together a team of authors both well-established in their fields and emerging, offering a broad range of expertise and insight. The first group of essays begins with travel, particularly in Europe where the new railroads made journeys much easier than in the past, particularly to the new museums being created in European cities. All three of them went to Paris and other European cities, while George Boyce also travelled in the French countryside to find new subjects for his art. Paris was also where Henry Wells and Joanna Boyce trained, but there is also a great deal of material about art training in Britain. The Boyces began essentially as financially independent amateurs, and were gradually drawn in to the increasingly institutional world of art, with the formation of new societies and the activities of commercial galleries. The next stage in an artist's career, involvement with the art market, is a continuing theme in the correspondence, 'the quirks and eccentricities of patrons and art dealers'. Studios, clubs and societies all played a part in this process, while Henry Wells, as a portrait painter, dealt directly with his often wayward clients. It was also a period of great changes in the painting materials available to artists, and there are questions in the letters such as 'Does indigo fly?', referring to a long established colour. The survival of two of Joanna Boyce's paintboxes means that her use of newer artists' materials could be investigated, along with the problems they could cause, - several of Joanna Boyce's paintings deteriorated rapidly because of the use of new materials. A second group of essays looks at the place of women in the art world, as reflected in Joanna Boyce's career. While she did not belong to the campaigners who were creating a space for women artists, including the formation of the Society of Female Artists in 1857, she was very much aware of what they stood for, as is evident from her paintings, and also from her art criticism, which was praised by Ruskin; her writing for the Saturday Review remains vivid and impressive even today. The correspondence comes to an end with Joanna Boyce's untimely death, but the three final essays deal with the longer careers of George Boyce and Henry Wells. George Boyce moved in the different world of the watercolour artists, with the Old Watercolour Society at its centre, and was until recently the best known of the trio. His place in this world is the subject of one essay; another shows him as an important art collector; there is a complete record of the sale of the collection after his death which enables us to see the range of his interests. Finally, there is a collaborative study of the career of Henry Wells, which extended from miniatures of the early Victorian era into the twentieth century and a handful of paintings of modern life. The effect of photography led him to change from miniatures to formal portraiture in the 1850s, and he was a very active if rather conservative member of the Royal Academy towards the end of his life. This multi-facetted volume is a valuable set of case studies on topics which are not often treated on their own, but which are very relevant to Victorian art. They remind us that there is much more to this period than the Pre-Raphaelites, and that other movements, (such as the Aesthetic painters who were an important influence on Joanna Boyce's art) flourished in their shade. Edited by Katie J T Herrington. Contributors: Sue Bradbury, Meaghan Clarke, Louise Cooling, Pamela Gerrish Nunn, Alicia Hughes, Christiana Payne, Mark Pomeroy, Matthew Potter, Joyce Townsend, and Glenda Youde.
Author: J. B. Bullen
Publisher: Oxford University Press
ISBN: 9780198182573
Category : Art
Languages : en
Pages : 266
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Book Description
Pre-Raphaelitism was the first avant-garde movement in Britain. It shocked its first audience, and as it modulated into Aestheticism it continued to disturb the British public. This interdisciplinary study traces the sources of this critical reaction to the representation of the body in painting and poetry from the work of Millais and Morris to that of Rossetti and Burne-Jones. The book also explores how reactions were conditioned by such late nineteenth-century anxieties as fear of cholera and hatred of Catholicism, fascination with the fallen woman, horror at the `shrieking sisterhood' of emancipated women, and even the terror of psycho-sexual diseases.
