Representative Painters of the XIXth CenturySampson Low, Marston, 1899 - 199 pages |
Contents
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Common terms and phrases
admiration alike amongst Anton Mauve beautiful became born Burne-Jones career Carolus Duran Cazin celebrated character charm colour colourist compositions CONSTANT TROYON contemporaries Corot critics Crome Dagnan-Bouveret Damvilliers Daubigny death decoration Degas Delacroix Delaroche delight drawings effect exhibited expression father figures forcibly fortune France French Fritz von Uhde Gallery genius Géricault Gérôme girl HANS MAKART Holman Hunt honour influence Ingres inspiration Jean François Millet Josef Israels Jules Jules Breton landscape later Legion of Honour LÉON LHERMITTE Lhermitte lived London Makart Manet master masterpiece medal Meissonier Millais nature never nineteenth century painter painting Paris peasant perhaps poetic portraits Pre-Raphaelite produced pupils Puvis de Chavannes rarely realistic realized recognized Regnault remarkable rendering Rome Rosa Bonheur Rossetti Rousseau Royal Academy Salon scene Segantini sketches soon spirit spite struggle style subjects success THÉODORE ROUSSEAU Troyon true truth Uhde whilst young artist
Popular passages
Page 50 - Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony.
Page 18 - As when a painter, poring on a face, Divinely thro' all hindrance finds the man Behind it, and so paints him that his face, The shape and colour of a mind and life, Lives for his children, ever at its best And fullest...
Page 51 - For Mr Whistler's own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen, and heard, much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face.
Page 50 - ... are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us — then the wayfarer hastens home; the working man and the cultured o.ne, the wise man and the one of pleasure cease to understand as they have ceased to see, and Nature, who for once has sung in tune, sings her exquisite song to the artist alone, her son and her master — her son in that he loves her, her master in that he knows her.
Page 23 - In agreeing to use the utmost elaboration in painting our first pictures, we never meant more than to insist that the practice was essential for training the eye and hand of the young artist...
Page 197 - ... none was more original in his work and at the same time more truly national in spirit than Giovanni Segantini. The son of parents who belonged to the middle class, and were at the time of his birth in very reduced circumstances, Giovanni was born at the mountain town of Arco, on the Lago di Garda, in 1858. His mother died when he was four years old, and his father took him after...
Page 27 - They were: (i) to have genuine ideas to express ; (2) to study nature attentively, so as to know how to express them ; (3) to sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote ; (4) most indispensable of all, they were to produce thoroughly good pictures and statues.
Page 11 - I set my first figure yesterday, and it is much liked; Etty congratulates me upon it; do, dear Leslie, come and see it. I have dressed up a bower of laurel, and I told the students they probably expected a landscape background from me. I am quite popular in the Life; at all events I spare neither pains nor expense to become a good Academician.
Page 11 - Cart' go to Paris by all means. I am too much pulled down by the agricultural distress to hope to possess it. I would, I think, let it go at less than its price for the sake of the eclat it may give you. The stupid English public, which has no judgment of its own, will begin to think there is something in you if the French make your works national property. You have long lain under a mistake; men do not purchase pictures because they admire them, but because others covet them.
Page 27 - Brotherhood was really and simply this: 1, To have genuine ideas to express; 2, to study Nature attentively, so as to know how to express them; 3, to sympathize with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote; and 4, and most indispensable of all, to produce thoroughly good pictures and statues.