Materials for a History of Oil Painting, Volumen1Longman, Brown, Green and Longmans, 1847 - 561 páginas |
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amber ancient Antonello Antonello da Messina appears applied artists bien boil Bruges calcined capella Cennini cera cloth colours composition copperas couleurs depingi described dissolved dryer drying oil durable employed encaustic Eraclius essential oil executed Eyck's facias fire Flanders Flemish Flemish painters fourteenth century fresco gesso glass ground heat Hubert Van Eyck huile huyle immixture ingredients Italian Italy John Van Eyck l'huile light linseed oil Mander mastic materials Mayerne means mentioned method mixed mode mucilage nut oil observes oil painters oil painting oleo oleo-resinous oleum olio orpiment palette panel passage Peinture picture pigments practice Præcipimus tibi quod prepared quantity quoted receipt remarks rendered resin Rubens salutem sandarac Schilder-Boeck seiche siccative speaking substance surface T. R. ap tempera Theophilus tints tion transparent treatise turpentine varnish varwe Vasari vehicle Venetian verdigris vermilion vernice liquida vernix vessel virnis white lead wood writer yellow
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Página 50 - Pay from our treasury to Odo the goldsmith and Edward his son one hundred and seventeen shillings and ten-pence for oil, varnish, and colours bought, and for pictures executed in the Queen's Chamber at Westminster...
Página 5 - In the practice of the arts of design, as in the few refined pursuits which were cultivated or allowed during the darker ages, the monks were long independent of secular assistance. Not only the pictures, but the stained glass, the gold and silver chalices, the reliquaries, all that belonged to the decoration and service of the church, were designed, and sometimes entirely executed by...
Página 180 - And I saw, and behold, a white horse : and he that sat on him had a bow; and a crown was given unto him : and he went forth conquering, and to conquer.
Página 89 - ... of tempera with the very material that had long been considered intractable. Mere finish was, however, the least of the excellencies of these reformers. The Step was short which sufficed to remove the self-imposed difficulties of the art ; but that effort would probably not have been so successful as it was, in overcoming long established prejudices, had it not been accompanied by some of the best qualities which oil painting, as a means of imitating nature, can command.
Página 489 - ... knowledge, which excluded all possibility of those adulterations to which the moderns are exposed. The same also was the case in England, till the time of Sir Godfrey Kneller, who when he came to this country...
Página 186 - Formerly known and highly honoured in painting; this all was shortly after turned to nothing. It was in the year of the Lord, one thousand four hundred and twenty-six, On the eighteenth day of September, that I rendered up my soul to God, in sufferings. Pray God for me, ye who love art, that I may attain to His sight.
Página 496 - ... colours, enriching them further with ultimate glazings, to represent the effect of transparency, and to avoid that leaden coloured white . . . the shadows in the light parts of a faint purple hue. That purple seems to be occasioned by blackish shadows under, and the colour scumbled over them.
Página 259 - Having made experiments with many things, both pure and mixed together, he at last found that linseed-oil and nut-oil, among the many which he had tested, were more drying than all the rest. These, therefore, boiled with other mixtures of his, made him the varnish which he, nay, which all the painters of the world, had long desired.
Página 84 - Such a vehicle entirely precluded delicacy of execution. " Paintings entirely executed with the thickened vehicle, at a time when art was in the very lowest state, and when its votaries were ill qualified to contend with unnecessary difficulties, must have been of the commonest description. Armorial bearings, patterns, and similar works of mechanical decoration, were perhaps as much as could be attempted. " Notwithstanding the general reference to flesh-painting...
Página 191 - Lucas of Holland, A. Diirer, and even Holbein, are inferior to those ascribed to Eyck in colour, execution, and taste. The draperies of the three on a gold ground, especially that of the middle figure, could not be improved in simplicity, or elegance, by the taste of Raphael himself. The three heads of God the Father, the Virgin, and St. John the Baptist, are not inferior in roundness, force, or sweetness, to the heads of L. da Vinci, and possess a more positive principle of colour.