. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. From a Mural Painting in Thebes in action, and Giotto, his pupil, to give them light andshade. Leonardo da Vinci (1452-1519) ventured towork entirely from nature, and his notes and sketchesfill thirteen massive volumes. But until the genius ofMichelangelo blazed forth art had remained in swad-dling clothes, timorous and groping for the light, fornot since the days of Greek sculpture had any onedared to realize the beauty of the human figure, un-draped, as nature
. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. From a Mural Painting in Thebes in action, and Giotto, his pupil, to give them light andshade. Leonardo da Vinci (1452-1519) ventured towork entirely from nature, and his notes and sketchesfill thirteen massive volumes. But until the genius ofMichelangelo blazed forth art had remained in swad-dling clothes, timorous and groping for the light, fornot since the days of Greek sculpture had any onedared to realize the beauty of the human figure, un-draped, as nature made it. To Michelangelo it meantthe very essence of all art. To him the nude symbol-ized force, power, profundity. With the courage thatMichelangelos example awakened, other artists soon 14. LOUVRE, PARIS MONA LISA By Leonardo da Vinci (1452-1519) The most marvelous of all portraits, ancient or modern began to search for truth, and from this period the mod-ern development of art may be properly said to date. As form dominated Florentine art, so coloris the distinctive element of the Venetian School. Itsgreatest master, Titian, rubbed and thumbed his pig-ments in the effort to realize his marvelous concep-tions of color, and his method of work has been thewonder and despair of modern painters. So each stepin the progress toward adequate artistic expressionmight be uncovered from the rubbish of ages, andtechnical skill be shown to have grown simultaneouslywith the faculty of seeing and comprehending naturesbeauty. Raphael the Umbrian was preeminent in somequalities; Albrecht Diirer the German, in others;Velasquez the Spaniard, Rubens the Fleming, Rem-brandt the Dutchman—each has taught us some-thing. What they discovered pertaining to the me-chanical side of art need not
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Keywords: ., bookcentury1900, bookdecade1900, bookidwmartinjoh, booksubjectart
