Modern Painters ...

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Smith, Elder, and Company, 1857

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Real meaning of the term
17
The pleasure resulting from imitation the most contemptible that can be derived from art
18
Imitation is contemptible because it is easy
19
Of Ideas of Truth 1 Meaning of the word truth as applied to art
20
Third difference
21
Ideas of truth are inconsistent with ideas of imitation
23
Of Ideas of Beauty 1 Definition of the term beautiful
25
Definition of the term taste
26
The high rank and function of ideas of beauty
27
Of Ideas of Relation 1 General meaning of the term
28
The exceeding nobility of these ideas
29
Why no subdivision of so extensive a class is necessary
30
General Principles respecting Ideas of Power PAGE 1 No necessity for detailed study of ideas of imitation
31
Except under one particular form
32
Second reason of the inconsistency
33
Instances in pictures of modern artists
34
Of Ideas of Power as they are dependent upon Execution 1 Meaning of the term execution
35
The second simplicity
36
Yet even the legitimate sources of pleasure in execution are incon sistent with each other
37
And fondness for ideas of power leads to the adoption of the lowest
38
Therefore perilous
39
Of the Sublime 1 Sublimity is the effect upon the mind of anything above it
40
Danger is sublime but not the fear of it
41
Recapitulation PAGE 1 The importance of historical truths
71
And deceptive chiaroscuro the lowest of all
72
General Application of the foregoing Prin ciples 8 1 The different selection of facts consequent on the several aims at imitation or at truth
73
What truths they gave
74
The principles of selection adopted by modern artists
75
Inadequacy of the landscape of Titian and Tintoret
76
Causes of its want of influence on subsequent schools
78
The value of inferior works of art how to be estimated
79
Religious landscape of Italy The admirableness of its completion
80
Finish and the want of it how rightand how wrong
81
The open skies of the religious schools how valuable Mountain drawing of Masaccio Landscape of the Bellinis and Giorgione
83
Landscape of Titian and Tintoret
85
Beauty of mountain foreground
97
De Wint
99
Influence of Engraving J D Harding
100
Samuel Prout Early painting of architecture how deficient
101
Effects of age upon buildings how far desirable
102
Effects of light how necessary to the understanding of detail
104
Architectural painting of Gentile Bellini and Vittor Carpaccio
106
And of the Venetians generally
107
Fresco painting of the Venetian exteriors Canaletto
108
Expression of the effects of age on architecture by S Prout
110
His excellent composition and colour
112
Modern architectural painting generally G Cattermole
113
The evil in an archæological point of view of misapplied invention in architectural subject
115
The error of Vandevelde
353
Difference in arrangement of parts between the reflected object and its image
354
The boldness and judgment shown in the observance of it
355
The texture of surface in Turners painting of calm water
356
Relation of various circumstances of past agitation c by the most trifling incidents as in the Cowes
358
Expression of contrary waves caused by recoil from shore
359
Turners painting of distant expanses of water Calm inter rupted by ripple
360
His drawing of distant rivers
361
His drawing of falling water with peculiar expression of weight
362
The abandonment and plunge of great cataracts How given by him
363
Difference in the action of water when continuous and when interrupted The interupted stream fills the hollows of its bed
364
Its exquisite curved lines
365
His exquisite drawing of the continuous torrent in the Llan thony Abbey
366
Various cases
367
Character of shorebreakers also inexpressible
369
Turners expression of heavy rolling sea
370
With peculiar expression of weight
371
And of the stroke of a breaker on the shore
372
Open seas of Turners earlier time
373
Effect of sea after prolonged storm
375
Turners noblest work the painting of the deep open sea in the Slave Ship
376
Its united excellences and perfection as a whole
377

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