Yet certain powers there are, within due limits, of marking the thing
represented with an ideal character; and it was to these powers that Ialluded in defining the meaning of the term ideal, in the thirteenth chapter of the
preceding section. For it is by this operation that the productions of high art
are separated from those of the realist. art oil painting for sale
And, first, there is evidently capability of separating color and form, and
considering either separately. Form we find abstractedly considered by the
sculptor, how far it would be possible to advantage a statue by the addition of
color, I venture not to affirm; the question is too extensive to be here
discussed. High authorities and ancient practice, are in favor of color; so the
sculpture of the middle ages: the two statues of Mino da Fiesole in the church
of Sta. Caterina at Pisa have been colored, the irises of the eyes
painted dark, and the hair gilded,oil painting online, as also I think the Madonna in
Sta. Maria della Spina; the eyes have been painted in the sculptures of Orcagna in Or
San Michele, but it looks like a remnant of barbarism, (compare the pulpit of
Guida da Como, in the church of San Bartolomeo at Pistoja,) and I have never
seen color on any solid forms, that did not, to my mind, neutralize all other
power; the porcelains of Luca della Robbia are painful examples, and in lower
art, Florentine mosaic in relief; gilding is more admissible, and tells
sometimes sweetly upon figures of quaint design, as on the pulpit of
Sta. Maria Novella, while it spoils the classical ornaments of the
mouldings. But the truest grandeur of sculpture I believe to be in the white
form; something of this feeling may be owing to the difficulty, or rather the
immediately, of obtaining truly noble color upon it, but if we could color the
Elgin marbles with the flesh tint of Giorgione, I had rather not have it
done. oil painting reproductions for sale
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