Ariadne Florentina: Six Lectures on Wood and Metal Engraving
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John Ruskin. Ariadne Florentina: Six Lectures on Wood and Metal Engraving
Ariadne Florentina: Six Lectures on Wood and Metal Engraving
Table of Contents
APPENDIX
LIST OF PLATES
ARIADNE FLORENTINA
LECTURE I
DEFINITION OF THE ART OF ENGRAVING
FOOTNOTES:
LECTURE II
THE RELATION OF ENGRAVING TO OTHER ARTS IN FLORENCE
FOOTNOTES:
LECTURE III
THE TECHNICS OF WOOD ENGRAVING
FOOTNOTES:
LECTURE IV
THE TECHNICS OF METAL ENGRAVING
FOOTNOTES:
LECTURE V
DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING
FOOTNOTES:
LECTURE VI
DESIGN IN THE FLORENTINE SCHOOLS OF ENGRAVING
FOOTNOTES:
NOTES
FOOTNOTES:
APPENDIX
ARTICLE I
NOTES ON THE PRESENT STATE OF ENGRAVING IN ENGLAND
ARTICLE II
DETACHED NOTES. I
II
III
IV
V
VI
FOOTNOTES:
Отрывок из книги
John Ruskin
Published by Good Press, 2019
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22. The distinction between the colorist and chiaroscurist school is trenchant and absolute: and may soon be shown you so that you will never forget it. Here is a Florentine picture by one of the pupils of Giotto, of very good representative quality, and which the University galleries are rich in possessing. At the distance at which I hold it, you see nothing but a checker-work of brilliant, and, as it happens, even glaring colors. If you come near, you will find this patchwork resolve itself into a Visitation, and Birth of St. John; but that St. Elizabeth's red dress, and the Virgin's blue and white one, and the brown posts of the door, and the blue spaces of the sky, are painted in their own entirely pure colors, each shaded with more powerful tints of itself—pale blue with deep blue, scarlet with crimson, yellow with orange, and green with richer green.
The whole is therefore as much a mosaic work of brilliant color as if it were made of bits of glass. There is no effect of light attempted, or so much as thought of: you don't know even where the sun is: nor have you the least notion what time of day it is. The painter thinks you cannot be so superfluous as to want to know what time of day it is.
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