Paintings can be divided into three categories: those he painted by himself, those he painted in part (mainly hands and faces), and those he only supervised. He had, as was usual at the time, a large workshop with many apprentices and students, some of whom, such as Anthony van Dyck, became famous in their own right. He also often sub-contracted elements such as animals or still-life in large compositions to specialists such as Frans Snyders, or other artists such as Jacob Jordaens.More info →
In 1629, he went to live in Italy for a year and a half. Though his first Italian visit is recognized as a crucial chapter in the development of Velázquez's style – and in the history of Spanish Royal Patronage, since Philip IV sponsored his trip – we know rather little about the details and specifics: what the painter saw, whom he met, how he was perceived and what innovations he hoped to introduce into his painting. It is canonical to divide the artistic career of Velázquez by his two visits to Italy, with his second grouping of works following the first visit and his third grouping following the second visit. This somewhat arbitrary division may be accepted though it will not always apply, because, as is usual in the case of many painters, his styles at times overlap each other. Velázquez rarely signed his pictures, and the royal archives give the dates of only his most important works. Internal evidence and history pertaining to his portraits supply the rest to a certain extent.
During the last twenty-six years of his life (1550–1576) the artist worked mainly for Philip II and as a portrait-painter. He became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years, never wearying of returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. He also finished off many copies of earlier works of his by his pupils, giving rise to many problems of attribution and priority among versions of his works, which were also very widely copied and faked outside his studio, during his lifetime and afterwards.More info →
In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist.More info →
As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art.
There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design.
THE LOVE between man and woman has been told in story and poem since long before the days of Sappho. It forms, indeed, the subject of the great bulk of what we call literature. In music, love's domain is less extended. With the exception song and the opera, most of the greatest music has, in its title at least, no hint of the great heart historyof human kind.More info →
Art, with its finite means, cannot hope to record the infinite variety and complexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial adjustments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture ispurely conventional, since it does not even aim at the imitation of natural form.More info →
AT the east end of the choir aisle of the Cathedral there is a portion of the wall which is possibly the oldest piece of masonry in Oxford, for it is thought to be a part of the original Church of St. Frideswyde, on whose site the Cathedral Church of Christ (to give its full title) now stands. Even so it is not possible to speak with historical certainty of the saint or of the date of her Church, which was built for her by her father, so the legend says, when she took the veil; though the year 740 may be provisionally accepted as the last year of her life.More info →
["The Elements of Drawing" was written during the winter of 1856. The First Edition was published in 1857; the Second followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand, 1859; seventh thousand, 1860; and eighth thousand, 1861.
The work was partly reproduced in "Our Sketching Club," by the Rev. R. St. John Tyrwhitt, M.A., 1874; with new editions in 1875, 1882, and 1886.
Mr. Ruskin meant, during his tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his Drawing School, under the title of "The Laws of Fésole." Of this only vol. i. was completed, 1879; second edition, 1882.
As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr. Ruskin's works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859.]
It is not the purpose of this work to write a treatise on instrumentation or to prepare a pedagogical analysis of orchestration only, but rather to trace the evolu-tion of the orchestra and of orchestration in connection with the history of music proper. Special emphasis will be laid upon what may be termed the IMPELLING FORCES to which the development of orchestration is due. This necessitates a considerable repetition of familiar facts that do not lend themselves to further original treatment. The restatement of such facts, however, would seem to form an indispensable background for the main theme, which is thereby exposed with all its attending phases of logical evolution.More info →