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The Portfolio: Monographs on Artistic Subjects..., Выпуски 16-18
Philip Gilbert Hamerton
Полный просмотр - 1895
The Portfolio: Monographs on Artistic Subjects..., Выпуски 40-43
Philip Gilbert Hamerton
Полный просмотр - 1899
The Portfolio: Monographs on Artistic Subjects..., Выпуски 28-30
Philip Gilbert Hamerton
Полный просмотр - 1896
Albrecht altar-piece appear archers armet armour artist Autotype Autotype Company Bacchanal Baron de Cosson bassinet battle beautiful British Museum Cadore Castle century charm Christ Church Collection of J. J. colour composition Crome Crowe and Cavalcaselle Dawson Turner decorative Diirer drawings Durer Earl early effigy Emperor English engravings etchings executed exhibited figures Florence frescoes gambeson German Giorgione Giorgionesque Giovanni Bellini gold Gothic armour hand helm helmet Henry VIII Hobbema honour influence Italian J. S. Cotman John JOHN SELL COTMAN King knight landscape later Lorenzo Lotto Louvre Madonna magnificent master Maximilian men-at-arms Morelli Mousehold Heath Munich National Gallery Normandy Norwich Nuremberg original painter painting Photograph picture pieces Pirkheimer plates Poringland portrait present probably pupil reproduced Sacred Saints sallad seen sketch sollerets steel style suit sword Titian Vasari Venetian Venetian art Venice Vienna Virgin and Child visor Windsor Castle Wolgemut worn Yarmouth
Стр. 31 - Would to God it were possible for me to see the work and art of the mighty masters to come, who are yet unborn, for I know that I might be improved.
Стр. 53 - ... not good. But Giovanni Bellini has highly praised me before many nobles. He wanted to have something of mine, and himself came to me and asked me to paint him something and he would pay well for it. And all men tell me what an upright man he is, so that I am really friendly with him. He is very old, but is still the best painter of them all.
Стр. 94 - Where I lie down worn out, other men will stand, young and fresh. By the steps that I have cut they will climb; by the stairs that I have built, they will mount. They will never know the name of the man who made them. At the clumsy work they will laugh ; when the stones roll they will curse me. But they will mount, and on my work; they will climb, and by my stair ! They will find her, and through me! And no man liveth to himself, and no man dieth to himself.
Стр. 40 - His sheld was all of gold so red, And thereon was a bores hed A charbouncle beside. The helmets were almost hidden by the large crests and the scarlet mantling, and the metal exposed was generally gilt. The trunk armour was concealed under the emblazoned surcoat or pourpoint ; and when the thighs...
Стр. 48 - Your boat was too small for them (you see I am at it again), but then the water pleased me, and I think it would not want much alteration in the sky. I cannot let your sky go off without some observation. I think the character of your clouds too affected, that is, too much of some of our modern painters, who mistake some of our great masters because they sometimes put in some of those round characters of clouds, they must do the same...
Стр. 96 - ... seeing. A portrait of Bernard van Orley himself, by Albrecht Diirer, hangs near by, — a fascinating, thin, intellectual face treated with frank recognition of anatomy, the head relieved against a glowing coppery red background. It is a spirited, beautiful example of Diirer as a portrait-painter. " God sometimes granteth unto a man to learn and know how to make a thing the like whereof in his day no other can contrive.
Стр. 58 - ... nothing better or more perfect in art. While Andrea was lying ill at Mantua he heard that Albrecht was in Italy and had him summoned to his side at once, in order that he might fortify his (Albrecht's) facility and certainty of hand with scientific knowledge and principles. For Andrea often lamented in conversation with his friends that Albrecht's facility in drawing had not been granted to him nor his learning to Albrecht.
Стр. 66 - I have painted it with great care, as you will see, using none but the best colours I could get. It is painted with good ultramarine under, and over, and over that again, some five or six times; and then after it was finished I painted it again twice over so that it may last a long time.
Стр. 53 - I cannot forbear to tell, in this place, the story of what happened between him and Giovanni Bellini. Bellini had the highest reputation as a painter at Venice and indeed throughout all Italy. When Albrecht was there he easily became intimate with him, and both artists naturally began to show one another specimens of their skill. Albrecht frankly admired and made much of all Bellini's works. Bellini also candidly expressed his admiration of various features of Albrecht's skill and particularly the...