How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . orea great glory of crimson drapery and golden back-ground, and wondered if he should ever himself acquiresuch marvelous skill. He was destined to accomplish greater things, forhis young mind had not been tutored to traditions, norhis young eyes constrained to admire the the free air of the mountains the boys spirit had wan-dered where it listed, and the eager eyes had learn
How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . orea great glory of crimson drapery and golden back-ground, and wondered if he should ever himself acquiresuch marvelous skill. He was destined to accomplish greater things, forhis young mind had not been tutored to traditions, norhis young eyes constrained to admire the the free air of the mountains the boys spirit had wan-dered where it listed, and the eager eyes had learned tolove and study nature. It was the love of form thathad set him to try and picture a goat upon the surfaceof the rock; it was the actual appearance of objects thathe sought to render when, in due time, he learned to usethe brush. If you turn again to a comparison of his INIadonnawith that of Cimabue, you will see what strides he hadalready made toward natural truth. Observe how thefigure of the Virgin is made real to us, notwithstandingthat it is covered, as in Cimabues, with drapery; andwhile the Christ-child in each picture is representedin a similar garment, the form in Cimabues does not [12]. MADONNA ENTHRONED CIMABUE RUCELLAI CHAPEL, SANTA MARIA NOVELLA, FLORENCE
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
