Sculpture science document

Xem 1-9 trên 9 kết quả Sculpture science document
  • What accents itself in the mind of the layman who makes even a cursory study of the sculptors and their works at the Panama-Pacific International Exposition is the fine, inspiring sincerity and uplift that each man brings to his work. One cannot be a great sculptor otherwise. The sculptor's work calls for steadfastness of purpose through long years of study, acute observation, the highest standards, fine intellectual ability and above all a decided universalism - otherwise the world soon passes him by. It is astonishing to see brought together the work of so many really great sculptors.

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  • I must pray the readers of the following Lectures to remember that the duty at present laid on me at Oxford is of an exceptionally complex character. Directly, it is to awaken the interest of my pupils in a study which they have hitherto found unattractive, and imagined to be useless; but more imperatively, it is to define the principles by which the study itself should be guided; and to vindicate their security against the doubts with which frequent discussion has lately incumbered a subject which all think themselves competent to discuss. The possibility of such vindication is, of...

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  • There is always a danger of taking any image or model too literally [5]. Using images in science or philosophy to illustrate states of affair is generally a two-edged sword because it is essential that the audience knows the limits of a picture and uses it with discrimination and intelligence. With that caution, I believe that art, having shed the requirement to visually represent reality accurately, is uniquely capable of instilling an intuition for the deeper aspects of reality that are hidden to the...

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  • ENGR AV ING is one of the fine arts, and in this beautiful family has been the especial handmaiden of painting. Another sister is now coming forward to join this service, lending to it the charm of color. If, in our day, the "chromo" can do more than engraving, it cannot impair the value of the early masters. With them there is no rivalry or competition. Historically, as well as æsthetically, they will be masters always. Everybody knows something of engraving, as of printing, with which it was associated in origin. School-books, illustrated papers, and shop windows are the...

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  • The entrance on my duty for to-day begins the fourth year of my official work in Oxford; and I doubt not that some of my audience are asking themselves, very doubtfully—at all events, I ask myself, very anxiously—what has been done. For practical result, I have not much to show. I announced, a fortnight since, that I would meet, the day before yesterday, any gentleman who wished to attend this course for purposes of study. My class, so minded, numbers four, of whom three wish to be artists, and ought not therefore, by rights, to be at Oxford at...

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  • AN attempt is made in the following pages to determine the position and character of Donatello's art in relation to that of his contemporaries and successors. The subject must be familiar to many who have visited Florence, but no critical work on the subject has been published in English. I have therefore quoted as many authorities as possible in order to assist those who may wish to look further into problems which are still unsettled. Most of the books to which reference is made can be consulted in the Art Library at South Kensington, and in the British Museum....

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  • Thomas Bewick has been acclaimed as the pioneer of modern wood engraving whose genius brought this popular medium to prominence. This study shows that certain technological developments prepared a path for Bewick and helped give his work its unique character. THE AUTHOR: Jacob Kainen is curator of graphic arts, Museum of History and Technology, in the Smithsonian Institution's United States National Museum. No other artist has approached Thomas Bewick (1753-1828) as the chronicler of English rustic life.

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  • Tham khảo sách 'diecasting', văn hoá - nghệ thuật, điêu khắc - hội họa phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả

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  • The “tarp” paintings, made between 1986 and 1988, use tarpaulins for supports that previously covered army trucks. They are stretched and then painted or treated in some way by the artist. The random nature of the patterning caused by the wear to the tarpaulin provides the artist with a point of departure. It avoids the conscious or unconscious decision of where to put the holes, plates or antlers and how to manipulate the shape of the underlying support, because the tarpaulin has already been used.

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