Apollo: An Illustrated Manual of the History of Art Throughout the AgesC. Scribner's Sons, 1910 - 350 páginas |
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Apollo: An Illustrated Manual of the History of Art Throughout the Ages Salomon Reinach Visualização integral - 1907 |
Apollo: An Illustrated Manual of the History of Art Throughout the Ages Salomon Reinach Visualização integral - 1912 |
Apollo: An Illustrated Manual of the History of Art Throughout the Ages Salomon Hermann Reinach Visualização integral - 1910 |
Palavras e frases frequentes
admirable antique architecture artist Assyrian Athens bas-reliefs beautiful Berlin BIBLIOGRAPHY OF CHAPTER Bielefeld bronze Brun Byzantine Caravaggio Cathedral Church civilisation classic colour colourist Correggio decoration Donatello Dresden Dürer Dutch Dyck Egypt Egyptian eighteenth century English engraved Eyck famous figures Flemish Florence Florentine France frescoes Gazette des Beaux-Arts genius German Gothic architecture Gothic art Greek art Hanfstaengl Histoire ibid imitation influence Ingres inspired Italy Kunst landscape Leipzig Leonardo London Louis XIV Louvre master masterpieces Michel Michelangelo modern monuments Munich Musée du Luxembourg Museum Myrina National Gallery Neurdein nineteenth century painter painting Palace Paris Parthenon Peinture period Phidias Photo Pitti Palace portraits Praxiteles pupil Raphael realistic Reinach Rembrandt Renaissance Revue de l'Art Roman Art Romanesque Rome Rubens Scopas sculpture Seemann seventeenth century siècle sixteenth century statues style taste temple tion Titian tombs tradition vases Vatican vault Velasquez Venetian Venice Vienna VIRGIN AND CHILD Woermann
Passagens conhecidas
Página 41 - Laconia. Another little Ionic temple, that of the Wingless Victory (Nike Apteros), was restored after 1830 with fragments found in a Turkish bastion. It stands in front of the Propylaea (Fig. 63). The pediments of the Parthenon represented the birth of Athene, and the dispute between Athene and Poseidon for the possession of Attica (Fig. 64) . On the metopes were carved the battles of the Centaurs and the Lapithae. The subject of the frieze was the procession of the Panathenaea, the principal festival...
Página 104 - Mirror of Nature, The Mirror of Science, the Moral Mirror, and the Historical Mirror. A contemporary archaeologist, ME Male, has shown that the works of art of our great cathedrals are a translation into stone of the Mirror of Vincent of Beauvais, setting aside the episodes from Greek and Roman History, which would have been out of place. It was not that the imagers had read Vincent's work ; but that, like him, they sought to epitomise all the knowledge of their contemporaries. The first aim of their...
Página 98 - Its light and airy system of construction, the freedom and slenderness of its supporting skeleton, afford, as it were, a presage of an art that began to develop in the nineteenth century, that of metallic architecture. With the help of metal, and of cement reinforced by metal bars, the moderns might equal the most daring feats of the Gothic architects; it would even be easy for them to surpass them, without endangering the solidity of the structure, as did the audacities of Gothic art.
Página ix - A work of art differs in one essential characteristic from those products of human activity which supply the immediate wants of life. Let us consider a palace, a picture. The palace might be merely a very large house, and yet provide a satisfactory shelter. Here, the element of art is superadded to that of utility. In a statue, a picture, utility is no longer apparent. The element of art is isolated.
Página 100 - THE Church was not only rich and powerful in the Middle Ages; it dominated and directed all the manifestations of human activity. There was practically no art but the art it encouraged, the art it needed to construct and adorn its buildings, carve its ivories and reliquaries, and paint its glass and its missals. Foremost among the arts it fostered was architecture, which never played so important a part in any other society. Even now, when we enter a Romanesque or Gothic church, we are impressed...
Página xii - Fancy seems to be absolutely excluded. Whether represented alone or in groups the animals 'are depicted with a correctness to which we find no parallel in the art of the modern savage." (Reinach, "Alluvions et Cavernees.") 3. Musical "Once music was pure rhythm ; once it was howling and gesture.
Página xiv - ... the loftier forms of art, architecture alone is absent. The masterpiece of this phase of art is perhaps the group of stags (Fig. 4) engraved on an antler discovered in the cave of Lorthet (H. Pyrenees). First we see the hind feet of a stag which is galloping away. Next comes another galloping stag, in an attitude first revealed to us in modern times by instantaneous photography as applied to the analysis of rapid movement. An artist of our own day, Aime Morot, first made use of the knowledge...
Página 36 - Phidias himself never cast off its trammels altogether; his glory lies in having been its highest expression, just as the genius of Raphael was the most complete expression of the Renaissance. The evolution of art is never complete; to speak of perfection in art is a dangerous error, for, by implication, it condemns artists to an eternal reproduction of the same models, to the renunciation of progress. The function of men of genius is rather to prepare the way for new tendencies by giving adequate...
Página 45 - Louvre.) the statue has become and has remained so popular, in spite of the mystery of the much-discussed attitude? Agitated and feverish generations see in it the highest expression of the quality they most lack, that serenity which is not apathy, but the equanimity of mental and bodily health.
Página 104 - ... Historical Mirror. A contemporary archaeologist, ME Male, has shown that the works of art of our great cathedrals are a translation into stone of the Mirror of Vincent of Beauvais, setting aside the episodes from Greek and Roman History, which would have been out of place. It was not that the imagers had read Vincent's work ; but that, like him, they sought to epitomise all the knowledge of their contemporaries. The first aim of their art is not to please, but to teach ; they offer an encyclopedia...