pt. 1. Of general principles. pt. 2. Of truth

Front Cover
J. Wiley & son, 1888 - Aesthetics

From inside the book

Contents

Religious landscape of Italy The admirableness of its com pletion
9
Finish and the want of it how rightand how wrong
10
The open skies of the religious schools how valuable Moun
11
13 The exceeding simplicity of coutour caused by the info
13
17 And in the Avalanche and Inundation
17
And consequent expression of horizontal distance in their
19
Of Ideas of Truth
21
Reasons for insisting on the infinity of Turners works
22
Works of Copley Fielding His high feeling
27
Of Ideas of Relation
29
Of Ideas of Power as they are dependent
36
His views of Italy destroyed by brilliancy and redundant
43
PART II
44
Of the Relative Importance of Truths
64
PAGE
65
Recapitulation
72
tain drawing of Masaccio Landscape of the Bellinis and Giorgione 84 88888888
84
Landscape of Titian and Tintoret
86
Schools of Florence Milan and Bologna 14 Claude Salvator and the Poussins
89
German and Flemish landscape
90
The lower Dutch schools
92
Constable Callcott
94
Peculiar tendency of recent landscape
95
Copley Fielding Phenomena of distant color
97
Beauty of mountain foreground
99
De Wint
101
Samuel Prout Early painting of architecture how deficient
103
Effects of age upon buildings how far desirable
104
Effects of light how necessary to the understanding of detail
106
Architectural painting of Gentile Bellini and Vittor Carpaccio
107
And of the Venetians generally
109
Fresco painting of the Venetian exteriors Canaletto
110
Expression of the effects of age on Architecture by S Prout
112
His excellent composition and color
114
Modern architectural painting generally G Cattermole
115
The evil in an archæological point of view of misapplied in vention in architectural subject
117
their fidelity and grace
118
Clarkson Stanfield
121
37 J M W Turner Force of national feeling in all great painters
123
Influence of this feeling on the choice of Landscape subject
125
The domestic subjects of the Liber Studiorum
127
Of the Foreground
132
OF GENERAL TRUTHS
140
Of Truth of Color PAGE 1 Observations on the color of G Poussins La Riccia
155
Turner himself is inferior in brilliancy to nature
157
Poussin and Claude
158
Turners translation of colors
160
Notice of effects in which no brilliancy of art can even ap proach that of reality
161
Reasons for the usual incredulity of the observer with respect to their representation
162
Color of the Napoleon
163
Necessary discrepancy between the attainable brilliancy of color and light
164
This discrepancy less in Turner than in other colorists
165
Turner scarcely ever uses pure or vivid color
166
First as Dependent on the Focus of the
185
PAGE
194
The basis of gray under all his vivid hues 167
167
The variety and fulness even of his most simple tones 168
168
His dislike of purple and fondness for the opposition of yel low and black The principles of nature in this respect 169
169
His early works are false in color 170
170
His drawings invariably perfect 171
171
Of Truth of Chiaroscuro 1 We are not at present to examine particular effects of light 174
174
And therefore the distinctness of shadows is the chief means of expressing vividness of light 175
175
And partial absence in the Dutch 176
176
The perfection of Turners works in this respect 177
177
The effect of his shadows upon the light 178
178
Space is more clearly indicated by the drawing of objects than by their hue 183
185
It is impossible to see objects at unequal distances distinctly at one moment 186
186
In painting therefore either the foreground or distance must be partially sacrificed 187
187
But modern artists have succeeded in fully carrying out this principle 188
188
Especially of Turner 189
189
Secondly as its Appear ance is dependent on the Power of the Eye 1 The peculiar indistinctness dependent on the retirement of objects from the eye ...
191
Instances in various objects 192
192
Two great resultant truths that nature is never distinct and never vacant 193
193
Instances from Nicholas Poussin 194
194
And G Poussin 195
195
The imperative necessity in landscape painting of fulness and finish 196
196
Breadth is not vacancy 197
197
The fulness and mystery of Turners distances 198
198
Farther illustrations in architectural drawing 199
199
14 Vacancy and falsehood of Canaletto 200
200
Space and size are destroyed alike by distinctness and by vacancy 202
202
First of the Region
216
The symmetrical arrangement of its clouds
217
Their exceeding delicacy
218
Causes of their peculiarly delicate coloring
219
Total absence of even the slightest effort at their representa tion in ancient landscape
220
The intense and constant study of them by Turner
221
His vignette Sunrise on the Sea
222
His use of the cirrus in expressing mist
223
His consistency in every minor feature
224
Recapitulation
225
Secondly of the Cen tral Cloud Region 1 Extent and typical character of the central cloud region
226
The clouds of Salvator and Poussin
227
Their angular forms and general decision of outline
228
The composition of their minor curves
229
Their characters as given by S Rosa
230
Vast size of congregated masses of cloud
231
And consequent divisions and varieties of feature
232
Imperfect conceptions of this size and extent in ancient land scape
233
Total want of transparency and evanescence in the clouds of ancient landscape
234
Farther proof of their deficiency in space
235
Instance of perfect truth in the sky of Turners Babylon
236
And in his Pools of Solomon
237
19 Association of the cirrostratus with the cumulus
238
Farther principles of cloud form exemplified in his Amalfi
239
Instances of the total want of it in the works of Salvator
240
The multiplication of objects or increase of their size will not give the impression of infinity but is the resource of novices
241
Farther instances of infinity in the gray skies of Turner
242
The average standing of the English school
243
Thirdly of the Region of the RainCloud 1 The apparent difference in character between the lower and central clouds is dependent chiefly on proximi...
244
And in definiteness of form
245
Value to the painter of the raincloud
246
The old masters have not left a single instance of the paint ing of the raincloud and very few efforts at it Gaspar Poussins storms
247
The great power of the moderns in this respect
248
His weakness and its probable cause
249
Impossibility of reasoning on the rainclouds of Turner from engravings
250
Moment of retiring rain in the Llanthony
251
And of commencing chosen with peculiar meaning for Loch Coriskin
252
The drawing of transparent vapor in the Lands End
253
Deepstudied form of swift raincloud in the Coventry
254
Effects of Light rendered by Modern
266
plains its rest
271
Mountains come out from underneath the plains and are their support
272
Structure of the plains themselves Their perfect level when deposited by quiet water
273
General divisions of formation resulting from this arrange ment Plan of investigation
274
Of the Central Mountains 1 Similar character of the central peaks in all parts of the world
275
Causing groups of rock resembling an artichoke or rose
276
Vignette of the Andes and others
277
Total want of any rendering of their phenomena in ancient art
278
Their total want of magnitude and aerial distance
279
And violation of specific form
280
Farther illustration of the distant character of mountain chains
281
Illustrated from the works of Turner and Stanfield The Borromean Islands of the latter
282
Turners Arona
283
Want of this decision in Claude
284
The perpetual rendering of it by Turner
285
General principles of its forms on the Alps
287
Average paintings of Switzerland Its real spirit has scarcely yet been caught
289
by being divided into beds
290
And by lines of lamination
291
The perfect expression of them in Turners Loch Coriskin
292
Glencoe and other works
293
Compared with the work of Salvator
294
And of Poussin
295
Effects of external influence on mountain form
296
The gentle convexity caused by aqueous erosion
297
The exceeding simplicity of contour caused by these influ ences
298
And multiplicity of feature
299
The fidelity of treatment in Turners Daphne and Leucippus
300
The rarity among secondary hills of steep slopes or high pre cipices
301
And consequent expression of horizontal distance in their ascent
302
The use of considering geological truths
303
Expression of retiring surface by Turner contrasted with the work of Claude
304
Their absolute opposition in every particular
313
Characters of loose earth and soil
314
Its exceeding grace and fulness of feature
315
Importance of these minor parts and points
316
Ground of Cuyp
317
The entire weakness and childishness of the latter
318
General features of Turners foreground
319
And perfect unity
320
Various parts whose history is told us by the details of the drawing
321
Turners drawing of detached blocks of weathered stone
322
And of complicated foreground
323
not affect right ones
330
Water takes no shadow
331
Modification of dark reflections by shadow
332
Examples on the waters of the Rhone
333
Effect of ripple on distant water
335
Effect of rippled water on horizontal and inclined images
336
Deflection of images on agitated water
337
Various licenses or errors in water painting of Claude Cuyp Vandevelde
339
And Canaletto
341
Why unpardonable
342
The Dutch painters of sea
343
Ruysdael Claude and Salvator
344
Nicolo Poussin
345
Venetians and Florentines Conclusion
346
Of Water as Painted by the Moderns 1 General power of the moderns in painting quiet water The lakes of Fielding
348
The character of bright and violent falling water
349
The admirable waterdrawing of J D Harding
350
The sea of Copley Fielding Its exceeding grace and rapidity
351
But deficiency in the requisite quality of grays
352
Works of Stanfield His perfect knowledge and power
353
Of Water as Painted by Turner 1 The difficulty of giving surface to smooth water
355
Morbid clearness occasioned in painting of water by distinct ness of reflections
356
How avoided by Turner
357
The error of Vandevelde
358
Difference in arrangement of parts between the reflected ob ject and its image
359
The boldness and judgment shown in the observance of it
360
The texture of surface in Turners painting of calm water
361
Relation of various circumstances of past agitation c by the most trifling incidents as in the Cowes
363
14 Expression of contrary waves caused by recoil from shore
364
Turners painting of distant expanses of water Calm inter rupted by ripple
365
His drawing of distant rivers
366
And of surface associated with mist
367
The abandonment and plunge of great cataracts How given by him
368
Difference in the action of water when continuous and when interrupted The interrupted stream fills the hollows of its bed
369
But the continuous stream takes the shape of its bed
370
His exquisite drawing of the continuous torrent in the Llan thony Abbey
371
And of the interrupted torrent in the Mercury and Argus
372
Sea painting Impossibility of truly representing foam
373
Character of shorebreakers also inexpressible
374
Their effect how injured when seen from the shore
375
Turners expression of heavy rolling sea
376
Peculiar action of recoiling waves
377
General character of sea on a rocky coast given by Turner in the Lands End
378
Open seas of Turners earlier time
379
Effect of sea after prolonged storm
380
Turners noblest work the painting of the deep open sea in the Slave Ship
382
Its united excellences and perfection as a whole
383
SECTION VI
384
Laws common to all forest trees Their branches do not taper but only divide
385
And care of nature to conceal the parallelism
386
And of the Italian school generally defy this law
387
Boughs in consequence of this law must diminish where they divide Those of the old masters often do not
388
Boughs must multiply as they diminish Those of the old masters do not
389
Boughdrawing of Salvator
390
All these errors especially shown in Claudes sketches and concentrated in a work of G Poussins
391
Impossibility of the angles of boughs being taken out of them by wind
392
Boughdrawing of Turner
394
Perfect regularity of Poussin
395
Exceeding intricacy of natures foliage
396
How followed by Creswick
397
Perfect unity in natures foliage
398
How rendered by Turner 399 1
399
Universal termination of trees in symmetrical curves
400
Altogether unobserved by the old masters Always given by Turner
401
Foliage of J D Harding Its deficiencies
402
His brilliancy of execution too manifest
403
His boughdrawing and choice of form
404
Conclusion Modern Art and Modern
414
How the press may really advance the cause of art
420
By which the public defraud themselves
421
Sketches not sufficiently encouraged
422
The duty and after privileges of all students
423
What should be their general aim
425
Duty of the press with respect to the works of Turner
427
Similar character of the central I
i
world
x
The two great ends of landscape painting are the representa
1
Their arrangements in pyramids or cal fissures
2
Causing groups of rock resembling
3
The faithful statement of these fac at Daybreak
4
Structure of the plains themsel when deposited by quiet water
5
Illustrated by Turners Marengo
6
The distinction holds good between almost all the works
7
art 8 Character of the representations of A Claude
8
Their total want of magnitude and aeri
9
And violation of specific form
10
Even in his best works
11
Farther illustration of the distant
12
Finish is far more necessary in landscape than in historical
18
Entire expression of tempest by minute touches and circum
20
The unison of all in the ideal foregrounds of the Academy
29
Turners painting of French and Swiss landscape The lat
41
chains
52
22
70
And of the intellectual powers
113
122
122
Why no subdivision of so extensive a class is necessary
127
ter deficient 129
129
SECTION II
142
the ancient and modern schools 179
179
subjects 202
202
19 Recapitulation of the section 203
203
Of the Central Mountai 1 Similar character of the central I
i
world
v
General Principles respecting Ideas of Power
1
Necessity of determining the relative importance of truths 58
2
Causing groups of rock resembling
3
The faithful statement of these fact at Daybreak
4
Vignette of the Andes and others
5
Necessary distance and consequent
6
mountains 7 Total want of any rendering of their
7
Second great principle of chiaroscuro Both high light
8
Their total want of magnitude and aeri
9
And violation of specific form
10
Even in his best works
11
Farther illustration of the distant cha chains
12
Their excessive appearance of transparen
13
Illustrated from the works of Turner a Borromean Islands of the latter
14
Turners Arona
15
Extreme distance of large objects always very sharp outline
16
Want of this decision in Claude
17
The perpetual rendering of it by Turner
18
Effects of snow how imperfectly studied
19
General principles of its forms on the Alps
20
Average paintings of Switzerland Its real sp yet been caught
21
His rendering of Italian character still less successful
42
All truths valuable as they are characteristic
58
72
72
large compositions how failing 130
130
141
141
The two distinct qualities of light to be considered
147
The power in Turner of uniting a number of tones
153
deep shadow are used in equal quantity and only in points 180
180
And consequent misguiding of the student 181
181
The great value of a simple chiaroscuro 182
182
The truth of Turner 183
183
stances in the Coventry 255
255
В ГАРЧ
309
pictures 324
324
Of Water as Painted by the Ancients 1 Sketch of the functions and infinite agency of water 325
325
Difficulty of properly dividing the subject 326
326
Difficulty of treating this part of the subject 328
328

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