Flip Your Lavatory Into A Spa For Tension Reduction

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Meantime we must turn our attention to Holland

Meantime we must turn our attention to Holland, where Frans Hals, who was born only three years later than Rubens, namely in 1580, was the forerunner of Rembrandt, Van der Helst, Bol, Lely, and a host more of greater or less painters, who made their country as famous in the seventeenth century for art as their fathers had made it in the sixteenth for arms. Without going into the complications of the political history of the Netherlands at this period,Single Piece Paintigns, it is important nevertheless to remember that while the Flemish provinces remained Catholic under Spain, the northern states, after heroic struggles, formed themselves into a Republic; so that while it is difficult to draw a hard and fast line between what was Dutch and what was Flemish in estimating the influence of one particular painter upon another, there is no question at all as to vital difference between the conditions which led to the production of the pictures of the two schools. The Flemish pictures were for the Church and for the Court,cheap oil painting, the Dutch for the house, the Guildhall, or the bourgeoisie. The former were aristocratic, the latter democratic. Rubens and Van Dyck were aristocrats, Hals and Rembrandt democrats. Rubens painted altar-pieces, for the great166 churches or cathedrals or for the chapels of his patrons. Rembrandt painted Bible stories for whoever would purchase them. Van Dyck painted the portraits of kings and nobles. Hals painted the rough soldiers and sailors, singly, or in the great groups into which they formed themselves as Guilds. For the first time in the history of painting, neither Church nor Court were its patrons. oil painting reproductions

Fortunately there are in existence various

Fortunately there are in existence various authentic pictures by Jan Van Eyck in which his original powers are more easily recognised than in the part he took in the execution of the great altar-piece at Ghent, in which he doubtless accommodated himself with proper fraternal piety both to the composition and to the style of his elder brother—who was also his master. In these we can see that he possessed neither the enthusiasm for the rich imagery and symbolism of the ecclesiastical art
 of the Middle Ages, decorative paintings,nor that feeling for beauty in human forms or in drapery which belonged to his elder brother. His feeling, on the other hand, led him to the closest and truest conception of individual nature. Where he had to paint portraits only—a task which was most congenial to the tendency of his mind—he attained a life-like truth of form and colouring in every part, extending even to the minutest details, such as no other artist of his time could rival, and which art in general has seldom produced. In his actual brush work he shows greater facility than was ever attained by Hubert, by which he was enabled to render the material of every substance with marvellous fidelity. cheap oil painting

What little we know of the personal history of Jan Van Eyck is of exceptional interest, inasmuch as we find him employed on diplomatic errands to foreign countries, like his great successor Rubens; and as it happens he landed in England, though not intentionally, in the course of one of these voyages, being driven into Shoreham and Falmouth by adverse weather. It was in 1425 that he was taken into the service of Philip III., canvas paintings for sale,Duke of Burgundy, as painter and "varlet de chambre," shortly after which he went to Lille. In the following year he was sent on a pilgrimage as the Duke's proxy, and again on two secret missions. In 1428 he went with the Duke's Embassy to the King of Portugal which was to sue for the hand of Isabella, the Portuguese princess. It was on this occasion that he was driven on to our shores. Arriving at Lisbon he painted two portraits of Isabella, one of which was sent home by sea and the other overland. After a happy and successful career he died in 1441 at Bruges, where he had married and settled down on his return from Portugal. art oil paintings online

The most important artist besides

The most important artist besides Titian who was a pupil of Giorgione was Sebastiano Del Piombo, as he was called—his father's name wasLuciani. But as two other notable influences determined his career, he is not to be taken as typical of the Venetian School in general or that of Giorgione in particular. Born in Venice about the year 1485, he first studied under Giovanni Bellini, as appears from the signature as well as from the style of a Pietà by him in the Layard collection,cheap oil painting, which we may hope soon to see in the National Gallery. Of his Giorgionesque period there is only one important picture known to us, the beautiful altar-piece in S. Giovanni Crisostomo in Venice, which is not far removed from the richness of Titian's earlier work. The picture represents the mild and dignified S. Chrysostom seated, reading aloud at a desk in an open hall; S. John the Baptist leaning on his cross is looking attentively at him; behind him are two male and on the left two female saints listening devoutly, and in the foreground the Virgin looking majestically out of the picture at the spectator—a splendid type of the full and grand Venetian ideal of female beauty of that time. modern abstract oil painting The true expression of a Santa Conversazione could not be more worthily given than in the relation in which the listeners stand to the reader, and in glow of colour this work is not inferior to the best of Giorgione's or Titian's.
As early as 1510, however, he not only left Venice, but also his Venetian manner. He was invited to Rome by the rich banker and patron of the arts, Agostino Chigi, where he met Raphael,abstract art oil paintings, and with astonishing versatility succeeded as well in emulating the excellences of that master as he had those of Bellini and Giorgione. The half-lengthDaughter of Herodias bequeathed to the National Gallery by George Salting is dated 1510, and in 1512 he painted the famous Fornarina in the Uffizi, which until the middle of the last century was supposed to be a chef d'œuvre of Raphael. To this period also belongs the S. John in the Desert, at the Louvre. wholesale oil paintings

Within the next seven years a still mightier influence found him, that of Michelangelo, and how far he was capable of responding to it may be judged by our great Raising of Lazarus, painted at Rome in 1517-19 for Giulio de'Medici, afterwards Pope Clement VII. to be placed with Raphael's Transfiguration in the Cathedral of Narbonne. Both pictures were publicly exhibited in Rome, and by some people Sebastiano's was preferred to Raphael's. According to Waagen the whole composition was designed by Michelangelo,oil paintings of nature, with whom Sebastiano had entered into the closest intimacy; and Kugler states that the group of Lazarus and those around him was actually drawn by the master. However that may be, we can hardly fail to see how entirely the Venetian influence is obscured by that of the great Florentine, and to recognise the extraordinary genius of a painter who could do something more than imitate from such masters as Bellini, Giorgione, Raphael and Michelangelo. modern abstract art oil painting

A series of similar, but in some

A series of similar, but in some instances more copious compositions, belong to a still later period; they are in a great measure the work of his scholars, painted after his drawings, and only partly worked upon by Raphael himself. Indeed many pictures of this class should perhaps be considered altogether as the productions of his school, at a time when that school was under his direct superintendence, and when it was enabled to imitate his finer characteristics in a remarkable degree. cheap oil painting
In this class are the Madonna dell'Impannata, in the Pitti, which takes its name from the oiled-paper window in the background. The large picture of a Holy Family in the Louvre, painted in 1518, for Francis I., is peculiarly excellent. The whole has a character of cheerfulness and joy: an easy and delicate play of graceful lines, which unite in an intelligible and harmonious whole. Giulio Romano assisted in the execution. art oil paintings online
With regard to the large altar-pieces of his later period in which several Saints are assembled round the Madonna, it is to be observed that Raphael has contrived to place them in reciprocal relation to each other, and to establish a connection between them; while the earlier masters either ranged them next to one another in simple symmetrical repose, or disposed them with a view to picturesque effect.
Of these the Madonna di Foligno,where to buy oil paintings, in the Vatican, is the earliest. In the upper part of the picture is the Madonna with the Child, enthroned on the clouds in a glory, surrounded by angels. Underneath, on one side, kneels the donor, behind him stands S. Jerome. On the other side is S. Francis, kneeling, while he points with one hand out of the picture to the people, for whom he entreats the protection of the Mother of Grace; behind him is S. John the Baptist, who points to the Madonna, while he looks at the spectator as if inviting him to worship her. oil paintings wholesale

The second, the Madonna del Pesce has much more repose and grandeur as whole, and unites the sublime and abstract character of sacred beings with the individuality of nature in the happiest manner. It is now in Madrid, but was originally painted for S. Domenico at Naples, about 1513. It represents the56 Madonna and Child on a throne; on one side is S. Jerome; on the other the guardian angel with the young Tobias who carries a fish (whence the name of the picture). The artist has imparted a wonderfully poetic character to the subject. S. Jerome, kneeling on the steps of the throne,oil paintings of nature, has been reading from a book to the Virgin and Child, and appears to have been interrupted by the entrance of Tobias and the Angel. The infant Christ turns towards them, but at the same time lays his hand on the open book, as if to mark the place. The Virgin turns towards the Angel, who introduces Tobias; while the latter dropping on his knees, looks up meekly to the Divine Infant. S. Jerome looks over the book to the new-comers, as if ready to proceed with his occupation after the interruption. oil painting online

Altogether different is the position of their sisters

Altogether different is the position of their sisters, the women-painters. Let us first look into that of the men. Painters formerly were part of a Guild such as that of the Drapers, Bakers and Butchers, and in their case it was a Guild which was far from occupying the first place in the hierarchy of Guilds. The Butchers were beyond doubt higher up in the scale than the painters. The painters were subjected to narrow and despotic regulations; rigorous conditions governed both apprenticeship and mastership,oil paintings for sale, conditions hardly encouraging to those who had a vocation, more especially in the case of women, ill-protected by the weakness of their sex, by prevalent custom, and ill-adapted for the struggle. The régime of the Académies, which followed that of the Guilds, did not bring in its wake conditions in any degree profitable to womankind. The Académie de Saint-Luc, while pretending to safeguard the professional interests of artists,cheap oil paintings, displayed such tyrannical pretensions that a certain number of artists rose in revolt against it, and appealed to the Royal power, which, approached by its chief painter, Charles Le Brun, came to their rescue, by helping them to found the celebrated Académie Royale de Peinture et de Sculpture (1666). The Académie Royale proved itself somewhat more liberal. It set no limits to the reception of those who seemed worthy of its suffrages; we know that it welcomed into its bosom a number of strangers of merit,cheap oil painting, and that it opened its doors to women. Therein lies a victory of appreciable importance, if one considers the energy and the talent which women artists were compelled to display, in order to conquer ancient prejudices in so signal a fashion. Henceforth a place was assigned in art to women, a place still hedged in with limitations, and which could be attained only by the few privileged ones. For,art oil paintings online, in its turn, the Académie served the purpose of a few, but not that of the many. The Académie reserved the monopoly of exhibitions exclusively for its members; and artists who did not, in one way or other, belong to this congregation, were allowed to exhibit their works in public only once a year. It was on the one day of the Octave of Corpus Christi, for a space of two hours, in the open air, and within the circumference of the Place Dauphine. All great artists had to submit to this treatment, ere they could force the portals of the Académie. But times have changed! Our contemporaries,oil painting on canvas for sale, so inconstant, so impatient, who wear out the attention of the public by the excessive multiplicity of their exhibitory manifestations, should occasionally think of the conditions under which their forerunners laboured.
Imagine a woman placed in the midst of these quarrels and struggles of rival Academies, with men in strong and often fierce antagonism on all sides of her; picture not only these general difficulties, but those of a more particular sort which arise from the disabilities of her sex, her subordinate state; think of the drawbacks—the prejudices, the convenances to be considered, and then the embarrassing promiscuity of life in studio and school, particularly as regards the study from the living model—and one can realise how brave, how energetic, or how ambitious must be the woman who would win the title of Artist. abstract oil painting

The Teutonic lands, like almost all of the countries(DUTCH PAINTING)

Books Recommended: Colvin, A. Durer, his Teachers, his Rivals, and his Scholars; Eye, Leben und Werke Albrecht Durers; Förster, Peter von Cornelius; Förster,Geschichte der Deutschen Kunst; Keane, Early Teutonic, Italian, and French Painters; Kügler, Handbook to German and Netherland Schools, trans. by Crowe; Merlo, Die Meister der altkolnischer Malerschule; Moore, Albert Durer; Pecht, Deutsche Kunstler des Neunzehnten Jahrhunderts; Reber,Single Piece Paintigns, Geschichte der neueren Deutschen Kunst; Riegel, Deutsche Kunststudien; Rosenberg, Die Berliner Malerschule; Rosenberg, Sebald und Barthel Beham; Rumohr, Hans Holbein der Jungere; Sandrart,Teutsche Akademie der Edlen Bau, Bild-und Malerey-Kunste; Schuchardt, Lucas Cranach's Leben; Thausig, Albert Durer, His Life and Works; Waagen, Kunstwerke und Kunstler in Deutschland; E. aus'm Weerth, Wandmalereien des Mittelalters in den Rheinlanden; Wessely, Adolph Menzel; Woltmann, Holbein and his Time; Woltmann, Geschichte der Deutschen Kunst im Elsass; Wurtzbach,Martin Schongauer. oil paintings for sale

EARLY GERMAN PAINTING: The Teutonic lands, like almost all of the countries of Europe, received their first art impulse from Christianity through Italy. The centre of the faith was at Rome, and from there the influence in art spread west and north, and in each land it was modified by local peculiarities of type and temperament. In Germany, even in the early days, though Christianity was the theme of early illuminations, miniatures, and the like, and though there was a traditional form reaching back to Italy and Byzantium, yet under it was the Teutonic type—the material, awkward, rather coarse Germanic point of view. The wish to realize native surroundings was apparent from the beginning. cheap oil painting

It is probable that the earliest painting in Germany took the form of illuminations. At what date it first appeared is unknown. In wall-painting a poor quality of work was executed in the churches as early as the ninth century, and probably earlier. The oldest now extant are those at Oberzell, dating back to the last part of the tenth century. Better examples are seen in the Lower Church of Schwarzrheindorf, of the twelfth century, and still better in the choir and transept of the Brunswick cathedral, ascribed to the early thirteenth century. abstract oil painting

FIG. 87.—LOCHNER. STS. JOHN, CATHERINE, AND MATTHEW.
NAT. GAL. LONDON.

Please click here for a modern color image

All of these works have an archaic appearance about them, but they are better in composition and drawing than the productions of Italy and Byzantium at that time. It is likely that all the German churches at this time were decorated, but most of the paintings have been destroyed. The usual method was to cover the walls and wooden ceilings with blue grounds,oil painting reproductions, and upon these to place figures surrounded by architectural ornaments. Stained glass was also used extensively. Panel painting seems to have come into existence before the thirteenth century (whether developed from miniature or wall-painting is unknown), and was used for altar decorations. The panels were done in tempera with figures in light colors upon gold grounds. The spirituality of the age with a mingling of northern sentiment appeared in the figure. This figure was at times graceful, and again awkward and archaic, according to the place of production and the influence of either France or Italy. The oldest panels extant are from the Wiesenkirche at Soest, now in the Berlin Museum. They do not date before the thirteenth century. art oil painting reproduction

THE LOMBARD SCHOOL-PRINCIPAL WORKS(ITALIAN PAINTING)

The Perugino type and influence had found its way to Bologna, and showed in the work of Francia (1450-1518), a contemporary and fellow-worker with Costa. Though trained as a goldsmith, and learning painting in a different school, Francia, as regards his sentiment, belongs in the same category with Perugino. Even his subjects, types, and treatment were, at times, more Umbrian than Bolognese. He was not so profound in feeling as Perugino, but at times he appeared loftier in conception. His color was usually rich, his drawing a little sharp at first, as showing the goldsmith's hand, the surfaces smooth,cheap oil painting, the detail elaborate. Later on, his work had a Raphaelesque tinge, show ing perhaps the influence of that rising master. It is probable that Francia at first was influenced by Costa's methods, and it is quite certain that he in turn influenced Costa in the matter of refined drawing and sentiment, though Costa always adhered to a certain detail and ornament coming from the north, and a landscape background that is peculiar to himself, and yet reminds one of Pinturricchio's landscapes. These two men, Francia and Costa, were the Perugino and Pinturricchio of the Ferrara-Bolognese school, and the most important painters in that school. art oil paintings for sale

FIG. 32.—SCHOOL OF FRANCIA. MADONNA AND CHILD. LOUVRE.

THE LOMBARD SCHOOL: The designation of the Lombard school is rather a vague one in the history of painting, and is used by historians to cover a number of isolated schools or men in the Lombardy region. In the fifteenth century these schools counted for little either in men or in works. The principal activity was about Milan, which drew painters from Brescia,cheap oil paintings, Vincenza, and elsewhere to form what is known as the Milanese school. Vincenzo Foppa (fl. 1455-1492), of Brescia, and afterward at Milan, was probably the founder of this Milanese school. His painting is of rather a harsh, exacting nature, and points to the influence of Padua, at which place he perhaps got his early art training. Borgognone (1450-1523) is set down as his pupil, a painter of much sentiment and spiritual feeling. The school was afterward greatly influenced by the example of Leonardo da Vinci, as will be shown further on. where to buy oil paintings

PRINCIPAL WORKS: Florentines—Masaccio, frescos in Brancacci Chapel Carmine Florence (the series completed by Filippino);Masolino, frescos Church and Baptistery Castiglione d' Olona; Paolo Uccello, frescos S. M. Novella, equestrian portrait Duomo Florence, battle-pieces in Louvre and Nat. Gal. Lon.; Andrea Castagno, heroes and sibyls Uffizi, altar-piece Acad. Florence, equestrian portrait Duomo Florence; Benozzo Gozzoli, Francesco Montefalco, Magi Ricardi palace Florence,modern art oil paintings,  frescos Campo Santo Pisa; Baldovinetti, Portico of the Annunziata Florence, altar-pieces Uffizi; Antonio Pollajuolo, Hercules Uffizi, St. Sebastian Pitti and Nat. Gal. Lon.; Cosimo Rosselli, frescos S. Ambrogio Florence, Sistine Chapel Rome, Madonna Uffizi; Fra Filippo, frescos Cathedral Prato, altar-pieces Florence Acad., Uffizi, Pitti and Berlin Gals., Nat. Gal. Lon.; Filippino, frescos Carmine Florence, Caraffa Chapel Minerva Rome, S. M. Novella and Acad. Florence, S. Domenico Bologna, easel pictures in Pitti, Uffizi, Nat. Gal. Lon. Berlin Mus. Old Pinacothek Munich; Botticelli, frescos Sistine Chapel Rome,original oil paintings wholesale, Spring and Coronation Florence Acad., Venus, Calumny, Madonnas Uffizi, Pitti, Nat. Gal. Lon., Louvre, etc.; Ghirlandajo, frescos Sistine Chapel Rome, S. Trinità Florence, S. M. Novella, Palazzo Vecchio, altar-pieces Uffizi and Acad. Florence, Visitation Louvre;Verrocchio, Baptism of Christ Acad. Florence; Lorenzo di Credi, Nativity Acad. Florence, Madonnas Louvre and Nat. Gal. Lon., Holy Family Borghese Gal. Rome; Piero di Cosimo, Perseus and Andromeda Uffizi, Procris Nat. Gal. Lon., Venus and Mars Berlin Gal. hand painted oil paintings
Umbrians—Ottaviano Nelli, altar-piece S. M. Nuovo Gubbio, St. Augustine legends S. Agostino Gubbio; Niccolò da Foligno, altar-piece S. Niccolò Foligno; Bonfigli, frescos Palazzo Communale, altar-pieces Acad. Perugia; Fiorenzo di Lorenzo, many pictures Acad. Perugia, Madonna Berlin Gal.;Piero della Francesca, frescos Communitá and Hospital Borgo San Sepolcro, San Francesco Arezzo, Chapel of the Relicts Rimini, portraits Uffizi, pictures Nat. Gal. Lon.;Signorelli, frescos Cathedral Orvieto, Sistine Rome, Palazzo Petrucci Sienna, altar-pieces Arezzo, Cortona, Perugia, pictures Pitti, Uffizi, Berlin, Louvre,landscape paintings for sale, Nat. Gal. Lon.;Melozzo da Forli, angels St. Peter's Rome, frescos Vatican, pictures Berlin and Nat. Gal. Lon.; Giovanni Santi, Annunciation Milan, Pieta Urbino, Madonnas Berlin, Nat. Gal. Lon., S. Croce Fano; Perugino, frescos Sistine Rome, Crucifixion S. M. Maddalena Florence, Sala del Cambio Perugia, altar-pieces Pitti, Fano, Cremona, many pictures in European galleries; Pinturricchio, frescos S. M. del Popolo, Appartamento Borgo Vatican, Bufolini Chapel Aracoeli Rome, Duomo Library Sienna, altar-pieces Perugia and Sienna Acads., Pitti, Louvre; Lo Spagna, Madonna Lower Church Assisi, frescos at Spoleto, Turin, Perugia, Assisi. oil paintings of flowers
Ferrarese and Bolognese—Cosimo Tura, altar-pieces Berlin Mus., Bergamo, Museo Correr Venice, Nat. Gal. Lon.; Francesco Cossa, altar-pieces S. Petronio and Acad. Bologna, Dresden Gal.; Grandi, St. George Corsini Pal. Rome, several canvases Constabili Collection Ferrara; Lorenzo Costa, frescos S. Giacomo Maggiore, altar-pieces S. Petronio, S. Giovanni in Monte and Acad. Bologna, also Louvre, Berlin, and Nat. Gal. Lon.; Francia, altar-pieces S. Giacomo Maggiore, S. Martino Maggiore, and many altar-pieces in Acad. Bologna, Annunciation Brera Milan, Rose Garden Munich, Pieta Nat. Gal. Lon., Scappi Portrait Uffizi, Baptism Dresden. oil paintings wholesale
Lombards—Foppa, altar-pieces S. Maria di Castello Savona, Borromeo Col. Milan, Carmine Brescia, panels Brera Milan; Borgognone, altar-pieces Certosa of Pavia, Church of Melegnano, S. Ambrogio, Ambrosian Lib., Brera Milan, Nat. Gal. Lon.

Anything but traces of unchanged sexual desire(Leonardo da Vinci 27)

Anything but traces of unchanged sexual desire we need not expect in Leonardo. These point however to one direction and allow us to count him among homosexuals. It has always been emphasized that he took as his pupils only strikingly handsome boys and youths. He was kind and considerate towards them, he cared for them and nursed them himself when they were ill,oil paintings for sale, just like a mother nurses her children, as his own mother might have cared for him. As he selected them on account of their beauty rather than their talent, none of them—Cesare da Sesto, G. Boltraffio, Andrea Salaino, Francesco Melzi and the others—ever became a prominent artist. Most of them could not make themselves independent of their master and disappeared after his death without leaving a more definite physiognomy to the history of art. The others who by their productions earned the right to call themselves his pupils, as Luini and Bazzi, nicknamed Sodoma, he probably did not know personally. cheap oil painting
We realize that we will have to face the objection that Leonardo's behavior towards his pupils surely had nothing to do with sexual motives, and permits no conclusion as to his sexual peculiarity. Against this we wish to assert with all caution that our conception explains some strange features in the master's behavior which otherwise would have remained enigmatical. Leonardo kept a diary; he made entries in his small hand, written from right to left which were meant only for himself. It is to be noted that in this diary he addressed himself with "thou": "Learn from master Lucca the multiplication of roots.""Let master d'Abacco show thee the square of the circle."Or on the occasion of a journey he entered in his diary: oil painting on canvas for sale
"I am going to Milan to look after the affairs of my garden ... order two pack-sacks to be made. Ask Boltraffio to show thee his turning-lathe and let him polish a stone on it.—Leave the book to master Andrea il Todesco." Or he wrote a resolution of quite different significance: "Thou must show in thy treatise that the earth is a star, like the moon or resembling it, and thus prove the nobility of our world." abstract oil paintings on canvas
In this diary, which like the diaries of other mortals often skim over the most important events of the day with only few words or ignore them altogether, one finds a few entries which on account of their peculiarity are cited by all of Leonardo's biographers. They show notations referring to the master's petty expenses, which are recorded with painful exactitude as if coming from a pedantic and strictly parsimonious family father, while there is nothing to show that he spent greater sums, or that the artist was well versed in household management. One of these notes refers to a new cloak which he bought for his pupil Andrea Salaino: where to buy oil paintings

Silver brocade	Lira	15	Soldi	4
Crimson velvet for trimming	"	9	"	0
Braid	"	0	"	9
Buttons	"	0	"	12

Another very detailed notice gives all the expenses which he incurred through the bad qualities and the thieving tendencies of another pupil or model: "On 21st day of April, 1490, I started this book and started again the horse.Jacomo came to me on Magdalene day, 1490, at the age of ten years (marginal note: thievish, mendacious, willful, gluttonous). On the second day I ordered for him two shirts, a pair of pants, and a jacket, and as I put the money away to pay for the things named he stole the money from my purse, and it was never possible to make him confess, although I was absolutely sure of it (marginal note: 4 Lira ...)." So the report continues concerning the misdeeds of the little boy and concludes with the expense account: "In the first year, a cloak, Lira 2: 6 shirts, Lira 4: 3 jackets, Lira 6: 4 pair of socks, Lira 7, etc." paintings reproductions

II. Mass 02 You may apply these same tests everywhere in nature

You may apply these same tests everywhere in nature. Even in a gray day, when the sun is not so positive a factor in distributing light, and the shadows are so subtle that it is difficult to discover them, there is always some mass of foliage, the silver sheen from an old shingled roof, the glare of a white wall, which marks for the composition its lightest light, while a corresponding dark can always be found somewhere in the tree-trunks, under the overhanging eaves, or in the broken crevices of the masonry. cheap oil painting
So it is with every other expression of nature. Even on a Venetian lagoon, where the sky and water are apparently one (not really one to the quick eye of an expert, the water always being one tone lower than the sky—that is, more gray than the overbending sky)—even in this lagoon you will find some one portion of the surface lighter than any other portion; and in expressing it your eye first and your brush next must catch in the opalescent sweep of delicious color under your eye its exact quantity of black and white. By black and white I mean, of course, that excess or absence of pure color which when translated into pure black and white would express the meaning of the subject-matter, as one of Raphael Morghen's engravings on steel gives you the feeling and color in his masterly rendering of Da Vinci's "Last Supper." art oil paintings
In my judgment one of the great landscapes of modern times is the picture by the distinguished Dutch painter, Mauve, known as "Changing Pasture," which is now owned by Mr. Charles P. Taft, of Cincinnati. Here the factor of mass is carried to its utmost limit. Sky one mass; flock of sheep another mass; and the foreground, sweeping under the sheep and beyond until it is lost in the haze of the distance, another mass, or, if one chooses to put it that way, another broad gradation of a section of the picture: the highest light being some infinitesimal speck in the diaphanous silver sky, the strongest dark being found somewhere in the foreground or in the flock of sheep. frames for oil paintings
By a strict adherence to this law of one supreme light and one supreme dark does Mauve's work, as it were, get back from and out of his canvas, as from the record of a phonograph into which some soul has breathed its own precise purpose and intent.

So, too, does nature often call out to you fixing your attention, often shrouding in shadow the unimportant in the landscape, while high up above the gloom it holds up to your gaze a white candle of a minaret or the bared breast of an Alpine peak reflecting the loving look of a tired sunbeam bidding it good-night. oil paints supplies

CHAPTER II CANVASES AND PANELS

You should have plenty of canvas on hand, and it would be well if you had it all stretched ready for use. Many a good day's work is lost because of the time wasted in getting a canvas ready. It is not necessary to have many kinds or sizes. It is better in fact to settle on one kind of surface which suits you, and to have a few practical sizes of stretchers which will pack together well, and work always on these. You will find that by getting accustomed to these sizes you work more freely on them. You can pack them better, and you can frame them more conveniently,cheap oil painting, because one frame will always do for many pictures. Perhaps there is no one piece of advice which I can give you which will be of more practical use outside of the principles of painting, than this of keeping to a few well-chosen sizes of canvas, and the keeping of a number of each always on hand.
It is all well enough to talk about not showing one's work too soon. But we all do, and always will like to see our work under as favorable conditions as possible. And a good frame is one of the favorable conditions. But good frames are expensive, and it is a great advantage to be able to have a frame always at hand which you can see your work in from time to time; and if you only work on four sizes of canvas, say, then four frames, one for each size, will suit all your pictures and sketches. Use the same sizes for all kinds of work too, and the freedom will come, as I say, in the working on those sizes. canvas paintings for sale
Don't have odd sizes about. You can just as well as not use the regular sizes and proportions which colormen keep in stock, and there is an advantage in being able to get a canvas at short notice, and it will be one of your own sizes, and will fit your frame. All artists have gone through the experience of eliminating odd sizes from their stock, and it is one of the practical things that we all have to come down to sooner or later, and the sooner the better,—to have the sizes which we find we like best, not too many, and stick to them. I would have you take advantage of this, and decide early in your work, and so get rid of one source of bother.
Rough and Smooth.—The best canvas is of linen. Cotton is used for sketching canvas. But you would do well always to use good grounds to work on. You can never tell beforehand how your work will turn out; and if you should want to keep your work, or find it worth while to go on with it, you would be glad that you had begun it on a good linen canvas. The linen is stronger and firmer, and when it has a "grain," the grain is better. oil painting
Grain.—The question of grain is not easy to speak about without the canvas, yet it is often a matter of importance. There are many kinds of surface, from the most smooth to the most rugged. Some grain it is well the canvas should have; too great smoothness will tend to make the painting "slick," which is not a pleasant quality. A grain gives the canvas a "tooth," and takes the paint better. Just what grain is best depends on the work. If you are going to have very fine detail in the picture use a smoothish canvas; but whenever you are going to paint heavily, roughly, or loosely, the rough canvas takes the paint better. The grain of the canvas takes up the paint, helps to hold it, and to disguise, in a way, the body of it. For large pictures, too, the canvas must necessarily be strong, and the mere weight of the fabric will give it a rough surface. oil paintings
Knots.—For ordinary work do not be afraid of a canvas which has some irregularities and knots on it. If they are not too marked they will not be unpleasantly noticeable in the picture, and may even give a relief to too great evenness.
Twilled Canvas.—The diagonal twill which some canvases have has always been a favorite surface with painters, particularly the portrait painters.This grain is a sympathetic one to work on, takes paint well, and is not in any way objectionable in the finished picture.
The best.—The best way is to try several kinds, and when you find one which has a sympathetic working quality, and which has a good effect in the finished picture, note the quality and use it. You will find such a canvas among both the rough and smooth kinds, and so you can use either, as the character of your work suggests. It is well to have both rough and smooth ready at hand.
Absorbent.—Some canvases are primed so as to absorb the oil during the process of painting. They are very useful for some kinds of work, and many painters choose them; but unless you have some experience with the working of them, they are apt to add another source of perplexity to the difficulties of painting, so you had better not experiment with them, but use the regular non-absorbent kinds.
Old and New.—The canvas you work on should not be too freshly primed. The painting is likely to crack if the priming is not well dried. You cannot always be sure that the canvas you get at stores is old, so you have an additional reason for getting a good stock and keeping it on hand. Then, if you have had it in your own possession a long while, you know it is not fresh. Canvas is all the better if it is a year old. art oil paintings for sale
Grounds.—The color of the grounds should be of interest to you. Canvases are prepared for the market usually in three colors,—a sort of cool gray, a warm light ochrish yellow, and a cool pinkish gray. Which is best is a matter of personal liking. It would be well to consider what the effect of the ground will be on the future condition of the picture when the colors begin to effect each other, as they inevitably will sooner or later.
Vibert in his "La Science de la Peinture" advocates a white ground. He says that as the color will be sure to darken somewhat with time, it is well that the ground should have as little to do with it as possible. If the ground is white there is so much the less dark pigment to influence your painting. He is right in this; but white is a most unsympathetic color to work over, and if you do not want to lay in your work with frottées, a tint is pleasanter. For most work the light ochrish ground will be found best; but you may be helped in deciding by the general tone of your picture. If the picture is to be bright and lively, use a light canvas, and if it is to be sombre, use a dark one. Remember, too, that the color of your ground will influence the appearance of every touch of paint you put on it by contrast, until the priming is covered and out of sight. art oil painting online

Stretchers.—The keyed stretcher, with wedges to force the corners open and so tighten the canvas when necessary, is the only proper one to use.For convenience of use many kinds have been invented, but you will find the one here illustrated the best for general purposes. The sides may be used for ends, and vice versa. If you arrange your sizes well, you will have the sides of one size the right length for the ends of another. Then you need fewer sizes, and they are surer to pack evenly.

Stretchers.

Stretching.—You will often have to stretch your own canvases, so you should know how to do it. There is only one way to make the canvas lay smoothly without wrinkles: Cut the canvas about two inches longer and wider than the stretcher, so that it will easily turn down over the edges. Begin by putting in one tack to hold the middle of one end. Then turn the whole thing round, and stretch tightly lengthwise, and put a tack to hold it into the middle of the other end. Do the same way with the two sides. Only four tacks so far, which have stretched the canvas in the middle two ways. As you do this, you must see that the canvas is on square. Don't drive the tacks all the way in at first till you know that this is so. Then give each another blow, so that the head binds the canvas more than the body of the tack does; for the pull of the canvas against the side of the tack will tear, while the head will hold more strands. This first two ways stretching must be as tight as any after stretching will be or you will have wrinkles in the middle, while the purpose is to pull out the wrinkles towards the corners. Now go back to the ends: stretch,modern abstract art oil painting,  and place one tack each side of the first one. In a large canvas you may put two each side, but not more, and you must be sure that the strain is even on both sides. Don't pull too much; for next you must do the same with the other end which should bearhalf of the whole stretch. Do just the same now with the two sides. Now continue stretching and tacking,—each side of the middle tacks on each end, then on each side, then to the ends again, and so gradually working towards the corners, when as you put in the last tacks the wrinkles will disappear, if you have done your work well. Don't hurry and try to drive too many tacks into a side at a time, for to have to do it all over again would take more time than to have worked slowly and done it properly. You may of course stretch a small canvas with your hands, but it will make your fingers sore, and you cannot get large canvases tight without help. You will do well to have a pair of "canvas pliers" which are specially shaped to pull the canvas and hold it strongly without tearing it, as other pliers are sure to do.

Canvas Pliers.

When you take canvases out-doors to work, you will find it useful to strap two together, face inwards, with a double-pointed tack like this in each corner to keep them apart. You will not have any trouble with the fresh paint, as each canvas will then protect the other. You can pack freshly painted canvases for shipping in the same way. where to buy oil paintings
Panels.—For small pictures panels are very useful, and when great detail is desirable, and fine, smooth work would make an accidental tear impossible to mend well, they are most valuable. They are made of mahogany and oak generally.

Panels are useful, too, for sketching, as you can easily pack them. They are light, and the sun does not shine through the backs. You can get them for about the same cost as canvas for small sizes, which are what you would be likely to use, and they are often more convenient, particularly for use in the sketch-box.

Double-pointed Tack.

Relation of the imaginative faculty to the theoretic

And now we find what noble sympathy and unity there is between the imaginative and theoretic faculties. Both agree in this, that they reject nothing, and are thankful for all; but the theoretic faculty takes out of everything that which is beautiful, while the imaginative faculty takes hold of the very imperfections which the theoretic rejects, and by means of these angles and roughnesses, it joints and bolts the separate stones into a mighty temple, wherein the theoretic faculty in its turn, does deepest homage. Thus sympathetic in their desires, harmoniously diverse in their operation, each working for the other with what the other needs not, all things external to man are by one or other turned to good. cheap oil painting

Of passion generally

§ 31. Of passion generally.
§ 32. It is never to be for itself exhibited—at least on the face.

Then, are the four passions whose presence in any degree on the human face is degradation. But of all passion it is to be generally observed,that it becomes ignoble either when entertained respecting unworthy objects, and therefore shallow or unjustifiable, or when of impious violence, and so destructive of human dignity. Thus grief is noble or the reverse, according to the dignity and worthiness of the object lamented,art oil painting for sale, and the grandeur of the mind enduring it. The sorrow of mortified vanity or avarice is simply disgusting, even that of bereaved affection may be base if selfish and unrestrained. All grief that convulses the features is ignoble, because it is commonly shallow and certainly temporary, as in children, though in the shock and shiver of a strong man's features under sudden and violent grief there may be something of sublime. The grief of Guercino's Hagar, in the Brera gallery at Milan, is partly despicable, partly disgusting, partly ridiculous; it is not the grief of the injured Egyptian, driven forth into the desert with the destiny of a nation in her heart, but of a servant of all work, turned away for stealing tea and sugar. Common painters forget that passion is not absolutely and in itself great or violent,oil painting online, but only in proportion to the weakness of the mind it has to deal with; and that in exaggerating its outward signs, they are not exalting the passion, but evaporating the hero. They think too much of passions as always the same in their nature, forgetting that the love of Achilles is different from the love of Paris, and of Alcestis from that of Laodamia. The use and value of passion is not as a subject in contemplation in itself, but as it breaks up the fountains of the great deep of the human mind, or displays its mightiness and ribbed majesty, as mountains are seen in their stability best among the coil of clouds; whence, in fine, I think it is to be held that all passion which attains overwhelming power, so that it is not as resisting, but as conquered, that the creature is contemplated, is unfit for high art, and destructive of the ideal character of the countenance: and in this respect, I cannot but hold Raffaelle to have erred in his endeavor to express passion of such acuteness in the human face; as in the fragment of the Massacre of the Innocents in our own gallery, (wherein, repainted though it be,art oil painting online, I suppose the purpose of the master is yet to be understood,) for if such subjects are to be represented at all, their entire expression may be given without degrading the face, as we shall presently see done with unspeakable power by Tintoret, and I think that all subjects of the kind, all human misery, slaughter, famine, plague, peril, and crime, are better in the main avoided, as of unprofitable and hardening influence, unless so far as out of the suffering, hinted rather than expressed, we may raise into nobler relief the eternal enduring of fortitude and affection, of mercy and self-devotion, or when, as by the threshing-floor of Ornan, and by the cave of Lazarus, the angel of the Lord is to be seen in the chastisement, and his love to be manifested to the despair of men. cheap oil painting

The effects of the Adamite curse are to be distinguished from signs of its immediate activity

§ 11. The effects of the Adamite curse are to be distinguished from signs of its immediate activity.
§ 12. Which latter only are to be banished from ideal form.

Hence, then, be it observed, that what we must determinedly banish from the human form and countenance in our seeking of its ideal, is not everything which can be ultimately traced to the Adamite fall for its cause, but only the immediate operation and presence of the degrading power or sin. For there is not any part of our feeling of nature, nor can there be through eternity, which shall not be in some way influenced and affected by the fall, and that not in any way of degradation,cheap oil painting, for the renewing in the divinity of Christ is a nobler condition than ever that of Paradise, and yet throughout eternity it must imply and refer to the disobedience, and the corrupt state of sin and death, and the suffering of Christ himself, which can we conceive of any redeemed soul as for an instant forgetting, or as remembering without sorrow? Neither are the alternations of joy and such sorrow as by us is inconceivable, being only as it were a softness and silence in the pulse of an infinite felicity, inconsistent with the state even of the unfallen, for the angels who rejoice over repentance cannot but feel an uncomprehended pain as they try and try again in vain,oil paintings on canvas for sale, whether they may not warm hard hearts with the brooding of their kind wings. So that we have not to banish from the ideal countenance the evidences of sorrow, nor of past suffering, nor even of past and conquered sin, but only the immediate operation of any evil, or the immediate coldness and hollowness of any good emotion. And hence in that contest before noted, between the body and the soul, we may often have to indicate the body as far conquered and outworn, and with signs of hard struggle and bitter pain upon it, and yet without ever diminishing the purity of its ideal; and because it is not in the power of any human imagination to reason out or conceive the countless modifications of experience,modern art oil paintings, suffering, and separated feeling, which have modelled and written their indelible images in various order upon every human countenance, so no right ideal can be reached by any combination of feature nor by any moulding and melting of individual beauties together, and still less without model or example conceived; but there is a perfect ideal to be wrought out of every face around us that has on its forehead the writing and the seal of the angel ascending from the East, by the earnest study and penetration of the written history thereupon, and the banishing of the blots and stains, wherein we still see in all that is human, the visible and instant operation of unconquered sin. abstract art oil paintings

How connected with the imaginative faculties

It is to be noted, however, that nature sometimes in a measure herself conceals these generic differences, and that when she displays them it is commonly on a scale too small for human hand to follow. art oil paintings for sale
The pursuit and seizure of the generic differences in their concealment, and the display of them on a larger and more palpable scale, is one of the wholesome and healthy operations of the imagination of which we are presently to speak. oil painting for sale
Generic differences being commonly exhibited by art in different manner and way from that of their natural occurrence, are in this respect more strictly and truly ideal in art than in reality. cheap oil painting

And animals

What is obscure in plants, is utterly incomprehensible in animals, owing to the greater number of means employed and functions performed.To judge of expedient proportion in them, we must know all that each member has to do, all its bones, all its muscles, and the amount of nervous energy communicable to them; and yet, forasmuch as we have more experience and instinctive sense of the strength of muscles than of wood, and more practical knowledge of the use of a head or a foot than of a flower or a stem, we are much more likely to presume upon our judgment respecting proportions here, we are very apt to assert that the plesiosaurus and camelopard have necks too long, that the turnspit has legs too short, and the elephant a body too ponderous. cheap oil paintings
But the painfulness arising from the idea of this being the case is occasioned partly by our sympathy with the animal, partly by our false apprehension of incompletion in the Divine work,nor in either case has it any connection with impressions of that typical beauty of which we are at present speaking; though some, perhaps, with that vital beauty which will hereafter come under discussion. cheap oil painting

How by nature obtained

The universal forces of nature, and the individual energies of the matter submitted to them, are so appointed and balanced, that they are continually bringing out curves of this kind in all visible forms, and that circular lines become nearly impossible under any circumstances. The gradual acceleration, for instance, of velocity, in streams that descend from hill-sides, as it gradually increases their power of erosion increases in the same gradual degree the rate of curvature in the descent of the slope, until at a certain degree of steepness this descent meets, and is concealed by the right line of the detritus. The junction of this right line with the plain is again modified by the farther bounding of the larger blocks, and by the successively diminishing proportion of landslips caused by erosion at the bottom, so that the whole line of the hill is one of curvature, first, gradually increasing in rapidity to the maximum steepness of which the particular rock is capable, and then decreasing in a decreasing ratio, until it arrives at the plain level. This type of form, modified of course more or less by the original boldness of the mountain, and dependent both on its age, its constituent rock, and the circumstances of its exposure, is yet in its general formula applicable to all. So the curves of all things in motion, and of all organic forms, most rudely and simply in the shell spirals, and in their most complicated development in the muscular lines of the higher animals. cheap oil paintings
This influence of apparent proportion, a proportion, be it observed, which has no reference to ultimate ends, but which is itself, seemingly, the end and object of operation in many of the forces of nature, is therefore at the root of all our delight in any beautiful form whatsoever. For no form can be beautiful which is not composed of curves whose unity is secured by relations of this kind. cheap oil painting

The twofold operation of custom. It deadens sensation, but confirms affection-But never either creates or destroys the essence of beauty

Custom has a twofold operation: the one to deaden the frequency and force of repeated impressions, the other to endear the familiar objecttothe affections. Commonly, where the mind is vigorous, and the power of sensation very perfect, it has rather the last operation than the first; with meaner minds, the first takes place in the higher degree, so that they are commonly characterized by a desire of excitement, and the want of the loving, fixed, theoretic power. But both take place in some degree with all men, so that as life advances, impressions of all kinds become less rapturous owing to their repetition. It is however beneficently ordained that repulsiveness shall be diminished by custom in a far greater degree than the sensation of beauty, so that the anatomist in a little time loses all sense of horror in the [Page 32] torn flesh, and carous bone, while the sculptor ceases not to feel to the close of his life, the deliciousness of every line of the outward frame. So then as in that with which we are made familiar, the repulsiveness is constantly diminishing, and such claims as it may be able to put forth on the affections are daily becoming stronger, while in what is submitted to us of new or strange, that which may be repulsive is felt in its full force, while no hold is as yet laid on the affections, there is a very strong preference induced in most minds for that to which they are not accustomed over that they know not, and this is strongest in those which are least open to sensations of positive beauty. But however far this operation may be carried, its utmost effect is but the deadening and approximating the sensations of beauty and ugliness. It never mixes nor crosses, nor in any way alters them; it has not the slightest connection with nor power over their nature. By tasting two wines alternately, we may deaden our perception of their flavor; nay, we may even do more than can ever be done in the case of sight, we may confound the two flavors together. But it will hardly be argued therefore that custom is the cause of either flavor. And so, though by habit we may deaden the effect of ugliness or beauty, it is not for that reason to be affirmed that habit is the cause of either sensation. We may keep a skull beside us as long as we please, we may overcome its repulsiveness, we may render ourselves capable of perceiving many qualities of beauty about its lines, we may contemplate it for years together if we will, it and nothing else, but we shall not get ourselves to think as well of it as of a child's fair face. cheap oil painting

The large scope of matured judgment

Now, the conclusions of this disposition are sure to be eventually right, more and more right according to the general maturity of all thepowers,but it is sure to come right at last, because its operation is in analogy to, and in harmony with, the whole spirit of the Christian moral system, and that which it will ultimately love and rest in, are great sources of happiness common to all the human race, and based on the relations they hold to their Creator. cheap oil paintings
These common and general sources of pleasure are, I believe, a certain seal, or impress of divine work and character, upon whatever God has wrought in all the world; only, it being necessary for the perception of them, that their contraries should also be set before us, these divine qualities, though inseparable from all divine works, are yet suffered to exist in such varieties of degree, that their most limited manifestation shall, in opposition to their most abundant, act as a foil or contrary, just as we conceive of cold as contrary to heat, though the most extreme cold we can produce or conceive is not inconsistent with an unknown amount of heat in the body. cheap oil painting

How the lower pleasures may be elevated in rank

And that this joyfulness and reverence are a necessary part of theoretic pleasure is very evident when we consider that, by the presence of these feelings, even the lower and more sensual pleasures may be rendered theoretic. Thus Aristotle has subtly noted, that "we call not men intemperate so much with respect to the scents of roses or herb-perfumes as of ointments and of condiments," (though the reason that he gives for this be futile enough.) For the fact is, that of scents artificially prepared the extreme desire is intemperance, but of natural and God-given scents, which take their part in the harmony and pleasantness of creation, there can hardly be intemperance; not that there is any absolute difference between the two kinds, but that these are likely to be received with gratitude and joyfulness rather than those, so that we despise the seeking of essences and unguents, but not the sowing of violets along our garden banks. But all things may be elevated by affection, as the spikenard of Mary, and in the Song of Solomon, the myrrh upon the handles of the lock, and that of Isaac concerning his son. And the general law for all these pleasures is, that when sought in the abstract and ardently, they are foul things, but when received with thankfulness and with reference to God's glory, they become theoretic; and so I can find something divine in the sweetness of wild fruits, as well as in the pleasantness of the pure air, and the tenderness of its natural perfumes that come and go as they list. cheap oil painting