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A History of Art for Beginners and Students - Painting, Sculpture, Architecture by Clara Erskine Clement - The Original Classic Edition

Finally available, a high quality book of the original classic edition.

This is a new and freshly published edition of this culturally important work, which is now, at last, again available to you.

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They had no knowledge of what we call perspective, that is, the art of representing a variety of objects on one flat surface, and making them appear to be at different distances from us-and you will see from the illustrations given here that their drawing and their manner of expressing the meaning of what they painted were very crude.

...There are writers who trace the origin and progress of Greek painting from the very earliest times; but I shall begin with Apollodorus, who is spoken of as the first Greek painter worthy of fame, because he was the first one who knew how to make his pictures appear to be real, and to follow the rules of perspective so as to have a background from which his figures stood out, and to shade his colors and soften his outlines.

...We have not space to speak of all the Italian cities in which these remains are discovered, and, as Pompeii is the one most frequently visited and that in which a very large proportion of the ancient pictures have been found, I will give a few illustrations from them, and leave the subject of ancient, mural paintings there.

...The variety of subjects at Pompeii is large: there are landscapes, hunting scenes, mythological subjects, numerous kinds of single figures, such as dancing girls, the hours, or seasons, graces, satyrs, and many others; devotional pictures, such as representations of the ancient divinities, lares, penates, and genii; pictures of tavern scenes, of mechanics at their work; rope-dancers and representations of various games, gladiatorial contests, genre scenes from the lives of children, youths, and women, festival ceremonies, actors, poets, and stage scenes, and last, but not least, many caricatures, of which I here give you an example (Fig.

...The lives of the Caracci are not of such interest as to require an account of them here, neither are their works so interesting that we may not leave these artists by saying that they have great consideration as the heads of the Eclectic Academy, and for the work they did in it at an important era in the history of Italian art; but the fruits of their work are shown in that of their scholars rather than in their own paintings, and in this view their influence can scarcely be overvalued.

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