. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . re than one place where thereis light and one place where there are shadows, althoughin the paintings of Correggio and Rembrandt, who develop-ed most fully the possibilities of light and shade, or of chi-aroscuro, as it is called, this plan was usually to Reynolds (Note xxxix on The Art of Paint-ing ), there may be three masses of light, one of which,however, he would make more promine
. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . re than one place where thereis light and one place where there are shadows, althoughin the paintings of Correggio and Rembrandt, who develop-ed most fully the possibilities of light and shade, or of chi-aroscuro, as it is called, this plan was usually to Reynolds (Note xxxix on The Art of Paint-ing ), there may be three masses of light, one of which,however, he would make more prominent than the othertwo, thus causing all three together to fulfil the methodsof both principality and balance. Titian, in order to im-press the fact that every picture representing the effectsof the atmosphere must indicate not only the generalinfluence of the light and shade on all the objects depictedconsidered together, but on each specific object consid-ered by itself, is said to have pointed to a bunch of grapes;and shown how the bunch considered as a whole has a lightand a dark side, and also how each grape considered byitself has a lieht and a dark side. The effects resulting from. FIG. 70.—THE HOLY NIGHT.— pages i6, 72, 80, 120, 190, 214, 257. 2l6 THE GENESIS OF ART-FORM. each of these conditions render the representation of bothdif^cult. Nor can they be represented at all except in thedegree in which the general effect, which is the one con-nected with massing, is treated as the more important ofthe two. From what has been said, it is evident that the effect ofbreadth, as thus produced, is identical with that of the ac-cumulation of repeated characteristics which results frommassing in poetry and music. The artistic end in view,too, is the same. By it, the unity, comparison, principality,congrnity, centra/point, as well as repetitions of the productare all brought out more clearly. Pictures, says S. in his Art, Its Laws, and the Reasons for Them,E
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