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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This ...

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Excerpt from Constable and His Influence on Landscape PaintingWhile, then, no pains have been spared to give an accurate and impartial account of Constable's life and character, the main portion of this book has been devoted, first to tracing brie¿y the rise of naturalism in landscape up to the time of Constable's youth, then to studying very carefully the in¿uences under which the painter developed his own personal genius, and to examining th...

Excerpt from Constable and His Influence on Landscape PaintingWhile, then, no pains have been spared to give an accurate and impartial account of Constable's life and character, the main portion of this book has been devoted, first to tracing brie¿y the rise of naturalism in landscape up to the time of Constable's youth, then to studying very carefully the in¿uences under which the painter developed his own personal genius, and to examining th...

Excerpt from HokusaiThough Japan has had an important in¿uence upon Western design for more than twenty years, that in¿uence has not hither to been as uniformly beneficial as might have been expected. Oriental art was first brought to Europe as a commercial speculation. It attracted attention at once by its novelty, and the available specimens, good, bad, and indifferent, were accepted and imitated with little or no discrimination. Thus the sh...

Excerpt from HokusaiThough Japan has had an important in¿uence upon Western design for more than twenty years, that in¿uence has not hither to been as uniformly beneficial as might have been expected. Oriental art was first brought to Europe as a commercial speculation. It attracted attention at once by its novelty, and the available specimens, good, bad, and indifferent, were accepted and imitated with little or no discrimination. Thus the sh...

Excerpt from Notes on the Science of Picture-MakingIn aesthetics we seem to be still almost as far from this unity as were men of science three centuries ago. A few giant reputations alone rise permanently above the cloudy sea of controversy, and even their summits now and then are touched by stray wisps of prejudice. Around the rest the misty tide of criticism continues to ebb and ¿ow, now overwhelming some peak that for long years basked in ...

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Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve ...

Excerpt from Notes on the Art of RembrandtThese notes deal almost entirely with the problem of art education, and may thus be regarded as a supple ment (though their nucleus is of earlier date) to Notes on the Science of Picture-making. Portions of chapters iv, vi, vii, and viii have appeared in la Burlington Magazine. I am deeply indebted to the authorities of the Print Room at the British Museum for much help, and in particular to Mr. A. M. ...

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve ...

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Excerpt from Notes on the Science of Picture-Making In aesthetics we seem to be still almost as far from this unity as were men of science three centuries ago. A few giant reputations alone rise permanently above the cloudy sea of controversy, and even their summits now and then are touched by stray wisps of prejudice. Around the rest the misty tide of criticism continues to ebb and ¿ow, now overwhelming some peak that for long years basked i...