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Showing posts with label still life oil paintings. Show all posts
Showing posts with label still life oil paintings. Show all posts
Sunday, February 2, 2014
Sunday, December 8, 2013
And yet, exquisite as is Claude's
§ 27. And yet, exquisite as is Claude's instinct for blunder, he has not
strength of mind enough to blunder in a wholly original manner, but he must
needs falter out of his way to pick up other people's puerilities, and be absurd
at second-hand. I have been obliged to laugh a little—though I hope
reverently—at Ghirlandajo's landscapes,decorative paintings, which yet we saw had a certain charm of
quaintness in them when contrasted with his grand figures; but could any one
have believed that Claude, with all the noble landscapes of Titian set before
him, and all nature round about him, should yet go back to Ghirlandajo for types
of form. Yet such is the case. I said that the Venetian influence came dimly
down to Claude; but the old Florentine influence came clearly. The Claudesque
landscape is not, as so commonly supposed, an idealized abstract of the nature
about Rome. It is an ultimate condition of the Florentine conventional
landscape, more or less softened by reference to nature. Fig. 8., from No. 145.
of the Liber Veritatis, is sufficiently characteristic of Claude's rock-drawing;
and compared with Fig. 5. (p. 314), will show exactly the kind of modification
he made on old and received types. We shall see other instances of it
hereafter. still life oil paintings
Imagine this kind of reproduction of whatever other people had done worst, and this kind of misunderstanding of all that he saw himself in nature, carried out in Claude's trees, rocks, ships—in everything that he touched,—and then consider what kind of school this work was for a young and reverent disciple. As I said, Turner never recovered the effects of it; his compositions were always mannered, lifeless, and even foolish; and he only did noble things when the immediate presence of nature had overpowered the reminiscences of his master. original oil paintings wholesale
§ 28. Of the influence of Gaspar and Nicolo Poussin on Turner, there is hardly anything to be said, nor much respecting that which they had on landscape generally. Nicolo Poussin had noble powers of design, and might have been a thoroughly great painter had he been trained in Venice; but his Roman education kept him tame; his trenchant severity was contrary to the tendencies of the age, and had few imitators compared to the dashing of Salvator, and the mist of Claude. Those few imitators adopted his manner without possessing either his science or invention; and the Italian school of landscape soon expired. Reminiscences of him occur sometimes in Turner's compositions of sculptured stones for foreground; and the beautiful Triumph of Flora, in the Louvre, probably first showed Turner the use of definite flower, or blossom-painting, in landscape. I doubt if he took anything from Gaspar; whatever he might have learned from him respecting masses of foliage and golden distances, could have been learned better, and, I believe, was learned, from Titian. cheap oil paintings on canvas
§ 29. Meantime, a lower, but more living school had developed itself in the north; Cuyp had painted sunshine as truly as Claude, gilding with it a more homely, but far more honestly conceived landscape; and the effects of light of De Hooghe and Rembrandt presented examples of treatment to which southern art could show no parallel. Turner evidently studied these with the greatest care, and with great benefit in every way; especially this, that they neutralized the idealisms of Claude, and showed the young painter what power might be in plain truth, even of the most familiar kind. He painted several pictures in imitation of these masters; and those in which he tried to rival Cuyp are healthy and noble works, being, in fact, just what most of Cuyp's own pictures are—faithful studies of Dutch boats in calm weather, on smooth water. De Hooghe was too precise, and Rembrandt too dark, to be successfully or affectionately followed by him; but he evidently learned much from both. flower oil paintings on canvas
Fig. 8
Imagine this kind of reproduction of whatever other people had done worst, and this kind of misunderstanding of all that he saw himself in nature, carried out in Claude's trees, rocks, ships—in everything that he touched,—and then consider what kind of school this work was for a young and reverent disciple. As I said, Turner never recovered the effects of it; his compositions were always mannered, lifeless, and even foolish; and he only did noble things when the immediate presence of nature had overpowered the reminiscences of his master. original oil paintings wholesale
§ 28. Of the influence of Gaspar and Nicolo Poussin on Turner, there is hardly anything to be said, nor much respecting that which they had on landscape generally. Nicolo Poussin had noble powers of design, and might have been a thoroughly great painter had he been trained in Venice; but his Roman education kept him tame; his trenchant severity was contrary to the tendencies of the age, and had few imitators compared to the dashing of Salvator, and the mist of Claude. Those few imitators adopted his manner without possessing either his science or invention; and the Italian school of landscape soon expired. Reminiscences of him occur sometimes in Turner's compositions of sculptured stones for foreground; and the beautiful Triumph of Flora, in the Louvre, probably first showed Turner the use of definite flower, or blossom-painting, in landscape. I doubt if he took anything from Gaspar; whatever he might have learned from him respecting masses of foliage and golden distances, could have been learned better, and, I believe, was learned, from Titian. cheap oil paintings on canvas
§ 29. Meantime, a lower, but more living school had developed itself in the north; Cuyp had painted sunshine as truly as Claude, gilding with it a more homely, but far more honestly conceived landscape; and the effects of light of De Hooghe and Rembrandt presented examples of treatment to which southern art could show no parallel. Turner evidently studied these with the greatest care, and with great benefit in every way; especially this, that they neutralized the idealisms of Claude, and showed the young painter what power might be in plain truth, even of the most familiar kind. He painted several pictures in imitation of these masters; and those in which he tried to rival Cuyp are healthy and noble works, being, in fact, just what most of Cuyp's own pictures are—faithful studies of Dutch boats in calm weather, on smooth water. De Hooghe was too precise, and Rembrandt too dark, to be successfully or affectionately followed by him; but he evidently learned much from both. flower oil paintings on canvas
Tuesday, December 3, 2013
Thus, the most startling fault
§ 31. Thus, the most startling fault of the age being its faithlessness, it
is necessary that its greatest man should be faithless. Nothing is more notable
or sorrowful in Scott's mind than its incapacity of steady belief in anything.
He cannot even resolve hardily to believe in a ghost, or a water-spirit; always
explains them away in an apologetic manner, not believing, all the while, even
his own explanation. He never can clearly ascertain whether there is anything
behind the arras but rats; never draws sword, and thrusts at it for life or
death; but goes on looking at it timidly, and saying, "it must be the wind." He
is educated a Presbyterian, and remains one, because it is the most sensible
thing he can do if he is to live in Edinburgh; but he thinks Romanism more
picturesque, and profaneness more gentlemanly: does not see that anything
affects human life but love, courage, and destiny; which are, indeed,abstract oil paintings for sale, not
matters of faith at all, but of sight. Any gods but those are very misty in
outline to him; and when the love is laid ghastly in poor Charlotte's coffin;
and the courage is no more of use,—the pen having fallen from between the
fingers; and destiny is sealing the scroll,—the God-light is dim in the tears
that fall on it.
He is in all this the epitome of his epoch.
§ 32. Again: as another notable weakness of the age is its habit of looking back, in a romantic and passionate idleness, to the past ages, not understanding them all the while, nor really desiring to understand them, so Scott gives up nearly the half of his intellectual power to a fond, yet purposeless, dreaming over the past, and spends half his literary labors in endeavors to revive it, not in reality, but on the stage of fiction; endeavors which were the best of the kind that modernism made,art oil paintings for sale, but still successful only so far as Scott put, under the old armor, the everlasting human nature which he knew; and totally unsuccessful, so far as concerned the painting of the armor itself, which he knew not. The excellence of Scott's work is precisely in proportion to the degree in which it is sketched from present nature. His familiar life is inimitable; his quiet scenes of introductory conversation, as the beginning of Rob Roy and Redgauntlet, and all his living Scotch characters, mean or noble, from Andrew Fairservice to Jeanie Deans, are simply right, and can never be bettered. But his romance and antiquarianism, his knighthood and monkery, are all false, and he knows them to be false; does not care to make them earnest; enjoys them for their strangeness, but laughs at his own antiquarianism, all through his own third novel,—with exquisite modesty indeed, but with total misunderstanding of the function of an Antiquary. He does not see how anything is to be got out of the past but confusion, old iron on drawingroom chairs, and serious inconvenience to Dr. Heavysterne. still life oil paintings
He is in all this the epitome of his epoch.
§ 32. Again: as another notable weakness of the age is its habit of looking back, in a romantic and passionate idleness, to the past ages, not understanding them all the while, nor really desiring to understand them, so Scott gives up nearly the half of his intellectual power to a fond, yet purposeless, dreaming over the past, and spends half his literary labors in endeavors to revive it, not in reality, but on the stage of fiction; endeavors which were the best of the kind that modernism made,art oil paintings for sale, but still successful only so far as Scott put, under the old armor, the everlasting human nature which he knew; and totally unsuccessful, so far as concerned the painting of the armor itself, which he knew not. The excellence of Scott's work is precisely in proportion to the degree in which it is sketched from present nature. His familiar life is inimitable; his quiet scenes of introductory conversation, as the beginning of Rob Roy and Redgauntlet, and all his living Scotch characters, mean or noble, from Andrew Fairservice to Jeanie Deans, are simply right, and can never be bettered. But his romance and antiquarianism, his knighthood and monkery, are all false, and he knows them to be false; does not care to make them earnest; enjoys them for their strangeness, but laughs at his own antiquarianism, all through his own third novel,—with exquisite modesty indeed, but with total misunderstanding of the function of an Antiquary. He does not see how anything is to be got out of the past but confusion, old iron on drawingroom chairs, and serious inconvenience to Dr. Heavysterne. still life oil paintings
Saturday, November 30, 2013
These, I think, are the principal...
§ 34. These, I think, are the principal points which must strike us, when we
first broadly think of the poem as compared with classical work. Let us now go a
little more into detail. oil painting reproductions for sale
As Homer gave us an ideal landscape, which even a god might have been pleased to behold, so Dante gives us, fortunately, an ideal landscape, which is specially intended for the terrestrial paradise. And it will doubtless be with some surprise, after our reflections above on the general tone of Dante's feelings, that we find ourselves here first entering a forest, and that even a thick forest. But there is a peculiar meaning in this. With any other poet than Dante, it might have been regarded as a wanton inconsistency. Not so with him: by glancing back to the two lines which explain the nature of Paradise, we shall see what he means by it. Virgil tells him, as he enters it, "Henceforward, take thine own pleasure for guide; thou art beyond the steep ways, and beyond all Art;"—meaning, that the perfectly purified and noble human creature, having no pleasure but in right, is past all effort, and past all rule. Art has no existence for such a being. Hence, the first aim of Dante, in his landscape imagery, is to show evidence of this perfect liberty, and of the purity and sinlessness of the new nature, converting pathless ways into happy ones. So that all those fences and formalisms which had been needed for him in imperfection, are removed in this paradise; and even the pathlessness of the wood, the most dreadful thing possible to him in his days of sin and shortcoming, is now a joy to him in his days of purity. And as the fencelessness and thicket of sin led to the fettered and fearful order of eternal punishment, so the fencelessness and thicket of the free virtue lead to the loving and constellated order of eternal happiness. art oil paintings for sale
§ 35. This forest, then, is very like that of Colonos in several respects—in its peace and sweetness, and number of birds; it differs from it only in letting a light breeze through it, being therefore somewhat thinner than the Greek wood; the tender lines which tell of the voices of the birds mingling with the wind, and of the leaves all turning one way before it, have been more or less copied by every poet since Dante's time. They are, so far as I know, the sweetest passage of wood description which exists in literature.
Before, however, Dante has gone far in this wood,—that is to say, only so far as to have lost sight of the place where he entered it, or rather, I suppose, of the light under the boughs of the outside trees, and it must have been a very thin wood indeed if he did not do this in some quarter of a mile's walk,—he comes to a little river, three paces over, which bends the blades of grass to the left, with a meadow on the other side of it; and in this meadow
As Homer gave us an ideal landscape, which even a god might have been pleased to behold, so Dante gives us, fortunately, an ideal landscape, which is specially intended for the terrestrial paradise. And it will doubtless be with some surprise, after our reflections above on the general tone of Dante's feelings, that we find ourselves here first entering a forest, and that even a thick forest. But there is a peculiar meaning in this. With any other poet than Dante, it might have been regarded as a wanton inconsistency. Not so with him: by glancing back to the two lines which explain the nature of Paradise, we shall see what he means by it. Virgil tells him, as he enters it, "Henceforward, take thine own pleasure for guide; thou art beyond the steep ways, and beyond all Art;"—meaning, that the perfectly purified and noble human creature, having no pleasure but in right, is past all effort, and past all rule. Art has no existence for such a being. Hence, the first aim of Dante, in his landscape imagery, is to show evidence of this perfect liberty, and of the purity and sinlessness of the new nature, converting pathless ways into happy ones. So that all those fences and formalisms which had been needed for him in imperfection, are removed in this paradise; and even the pathlessness of the wood, the most dreadful thing possible to him in his days of sin and shortcoming, is now a joy to him in his days of purity. And as the fencelessness and thicket of sin led to the fettered and fearful order of eternal punishment, so the fencelessness and thicket of the free virtue lead to the loving and constellated order of eternal happiness. art oil paintings for sale
§ 35. This forest, then, is very like that of Colonos in several respects—in its peace and sweetness, and number of birds; it differs from it only in letting a light breeze through it, being therefore somewhat thinner than the Greek wood; the tender lines which tell of the voices of the birds mingling with the wind, and of the leaves all turning one way before it, have been more or less copied by every poet since Dante's time. They are, so far as I know, the sweetest passage of wood description which exists in literature.
Before, however, Dante has gone far in this wood,—that is to say, only so far as to have lost sight of the place where he entered it, or rather, I suppose, of the light under the boughs of the outside trees, and it must have been a very thin wood indeed if he did not do this in some quarter of a mile's walk,—he comes to a little river, three paces over, which bends the blades of grass to the left, with a meadow on the other side of it; and in this meadow
"A lady, graced with solitude, who
went
Singing, and setting flower by flower apart,
By which the path she walked on was besprent. oil paintings on canvas
'Ah, lady beautiful, that basking art
In beams of love, if I may trust thy face,
Which useth to bear witness of the heart,
Let liking come on thee,' said I, 'to trace
Thy path a little closer to the shore,
Where I may reap the hearing of thy lays.
Thou mindest me, how Proserpine of yore
Appeared in such a place, what time her mother
Lost her, and she the spring, for evermore.'
As, pointing downwards and to one another
Her feet, a lady bendeth in the dance,
And barely setteth one before the other,
Thus, on the scarlet and the saffron glance
Of flowers, with motion maidenlike she bent
(Her modest eyelids drooping and askance);
And there she gave my wishes their content,
Approaching, so that her sweet melodies
Arrived upon mine ear with what they meant.
When first she came amongst the blades, that rise,
Already wetted, from the goodly river,
She graced me by the lifting of her eyes."
Cayley. still life oil paintings
Singing, and setting flower by flower apart,
By which the path she walked on was besprent. oil paintings on canvas
'Ah, lady beautiful, that basking art
In beams of love, if I may trust thy face,
Which useth to bear witness of the heart,
Let liking come on thee,' said I, 'to trace
Thy path a little closer to the shore,
Where I may reap the hearing of thy lays.
Thou mindest me, how Proserpine of yore
Appeared in such a place, what time her mother
Lost her, and she the spring, for evermore.'
As, pointing downwards and to one another
Her feet, a lady bendeth in the dance,
And barely setteth one before the other,
Thus, on the scarlet and the saffron glance
Of flowers, with motion maidenlike she bent
(Her modest eyelids drooping and askance);
And there she gave my wishes their content,
Approaching, so that her sweet melodies
Arrived upon mine ear with what they meant.
When first she came amongst the blades, that rise,
Already wetted, from the goodly river,
She graced me by the lifting of her eyes."
Cayley. still life oil paintings
Thursday, November 28, 2013
Symmetrical government of design
And this love of symmetry was still farther enhanced by the peculiar duties
required of art at the time; for, in order to fit a flower or leaf for inlaying
in armor, or showing clearly in glass, it was absolutely necessary to take away
its complexity, and reduce it to the condition of a disciplined and orderly
pattern; and this the more, because, for all military purposes, the device,
whatever it was, had to be distinctly intelligible at extreme distance. That it
should be a good imitation of nature, when seen near, was of no moment; but it
was of highest moment that when first the knight's banner flashed in the sun at
the turn of the mountain road, or rose, torn and bloody, through the drift of
the battle dust, it should still be discernible what the bearing was. oil paintings for sale
Farther, it was necessary to the brilliant harmony of color, and clear setting forth of everything, that all confusing shadows, all dim and doubtful lines should be rejected: hence at once an utter denial of natural appearances by the great body of workmen; and a calm rest in a practice of representation which would make either boar or lion blue, scarlet, or golden, according to the device of the knight, or the need of such and such a color in that place of the pattern; and which wholly denied that any substance ever cast a shadow, or was affected by any kind of obscurity. oil paintings for sale uk
"At length, the freshening western
blast
Aside the shroud of battle cast;
And first the ridge of mingled spears
Above the brightening cloud appears;
And in the smoke the pennons flew,
As in the storm the white sea-mew;
Then marked they, dashing broad and far
The broken billows of the war.
Wide raged the battle on the plain;
Spears shook, and falchions flashed amain,
Fell England's arrow-flight like rain;
Crests rose, and stooped, and rose again,
Wild and disorderly.
Amidst the scene of tumult, high,
They saw Lord Marmion's falcon fly,
And stainless Tunstall's banner white,
And Edmund Howard's lion bright." still life oil paintings
It was needed, not merely that they should see it was a falcon, but Lord
Marmion's falcon; not only a lion, but the Howard's lion. Hence, to the one
imperative end of intelligibility, every minor resemblance to nature was
sacrificed, and above all, the curved, which are chiefly the confusing
lines; so that the straight, elongated back, doubly elongated tail, projected
and separate claws, and other rectilinear unnaturalnesses of form, became the
means by which the leopard was, in midst of the mist and storm of battle,
distinguished from the dog, or the lion from the wolf; the most admirable
fierceness and vital ity being, in spite of these necessary changes (so
often shallowly sneered at by the modern workman), obtained by the old
designer.Aside the shroud of battle cast;
And first the ridge of mingled spears
Above the brightening cloud appears;
And in the smoke the pennons flew,
As in the storm the white sea-mew;
Then marked they, dashing broad and far
The broken billows of the war.
Wide raged the battle on the plain;
Spears shook, and falchions flashed amain,
Fell England's arrow-flight like rain;
Crests rose, and stooped, and rose again,
Wild and disorderly.
Amidst the scene of tumult, high,
They saw Lord Marmion's falcon fly,
And stainless Tunstall's banner white,
And Edmund Howard's lion bright." still life oil paintings
Farther, it was necessary to the brilliant harmony of color, and clear setting forth of everything, that all confusing shadows, all dim and doubtful lines should be rejected: hence at once an utter denial of natural appearances by the great body of workmen; and a calm rest in a practice of representation which would make either boar or lion blue, scarlet, or golden, according to the device of the knight, or the need of such and such a color in that place of the pattern; and which wholly denied that any substance ever cast a shadow, or was affected by any kind of obscurity. oil paintings for sale uk
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