The Story of Art: 0000

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the whole story of art is not a story of progress in technical proficiency, but a story of changing ideas and requirements”

One more word about the space allotted to the various arts in this book. To some it will seem that painting is imduly favoured as compared to sculpture and architecture. Rome at the time was the centre of the civilised world. Artists from all parts of Europe came there, took part in discussions on painting, took sides in the quarrels of the cliques, studied old masters, and returned to their native contries with tales of the latest ‘movements'” Painters began to look at the life of the ordinairy mean and women of their time… Chardin like these quiet glimpses of life .. he resembles Vermeer in the way in which he feels and preserves the poetry of a domestic scene, wihtout looking for striking effects or pointed allusions” eg. the Melk monastery .. “when you are in the midst of it all it envelops you and stops all questioning”he gave [his subjects] the conviction that through his art they would go on living” 017 The New Learning Spreads: Germany and the Netherlands, early 16th century If on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlor.

Rembrandt .. left us an amazing record of life in a series of self-portraits ranging from his youth .. to his lonely old age” no artist can always ‘play safe’ and nothing is more important that to recognize the role that even apparently extravagent or eccentric experiments have played” the break in tradition .. beyond the French Revolution .. it was then , as we know, that artists had become self-conscious about style” Still life .. “became a wonderful field of experiments for painters’ special problems . [like] the way light is reflected and broken by coloured glass” You may change or cancel your subscription or trial at any time online. Simply log into Settings & Account and select "Cancel" on the right-hand side.Blake was so wrapped up in his visions that he refused to draw from life and relied entirely on his inner eye .. like medieval artists he did not care for accurate representation” Carracci, Reni and their followers.. formulated the pogramme of idealizing or ‘beautifying’ nature, according to the standards set by the classical statues. We call it the neo-classical or ‘academic’ programmes” Titian .. was principally a painter .. [his] supreme skill enabled him to disregard all the time-honoured rules of composition, and to rely on colour to restore the unity which he apparently broke up” by this time, the period of Hellenism, art had largely lost its old connection with magic and religion. Artists became interested in the problems of their craft for its own sake” 005 World Conquerors: Romans, Buddhists, Jews and Christians, 100 to 400 AD With the invention of photography …“there was no need for painting to perform a task which a mechanical device could perform better and more cheaply .. in the past the art of painting served a number of utilitarian ends. It was used to record the likeness of a notable person or the view of a country house “

Kitabın en önemli özelliği gidip bu eserleri tek tek yerinde inceleme isteğini tavan yaptırması. Kitapta fotoğraflanan eserlerin bir kısmını kendi gözlerimle görebildiğim için mutlu olmuşken bundan sonraki müze gezilerimde önceden bu kitabı bir karıştırıp “burada da bunu görmek lazım” demem çok muhtemel bundan böyle. a b Wilkin, Karen (Spring 2003). "A preference for the primitive: Gombrich's legacy". The Hudson Review. 56 (1): 217–222, 224 – via ProQuest. the most outstanding effect of the break in tradition – that artists felt free to put their private visions on paper as hitherto only poets had done”

One reason for this bias is that less is lost in the illustration of a painting than in that of a round sculpture, let alone a monumental building.

The amount of building done in the 19th century was probably greater than in all former periods taken together”the large mass of artists wre still organized in guilds and companies … [the] purpose was to supply beautifu; things to people who wanted them and enjoyed them” Giorgione has not drawn things and persinse to arrange them afterwards in space .. he really thought of nature, the earth, the trees, the light, air and cloulds and the human beings with their cities and bridges as one” The Egyptians had based their art on knowledge. The Greeks began to use their eyes … [the artist] no longer thought that everything he knew to be there must also be shown” what the Greeks of the time valued even more was .. the newfound freedom to represent the human body in any position or movement could be used to reflect the inner life of the figures represented .. they should represent the ‘workings of the soul’ by accurately observing the way ‘feelings affect the body in action'” 004 The Realm of Beauty: Greece and Greek world 400BC to 100 AD