Roman Art; Some of Its Principles And Their Application to Early Christian Painting;
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K. Bliimner, Technologie, III. p. 201), and hence a coating of wax would be necessary.
* Georg Treu. Archciologisches Jahrbuch, IV. p. 18, Taf. I. Treu's suggestion that this is an imitation of a Greek fourth century original is a pure conjecture. It is a superficially executed ideal head of later Imperial times such as repeatedly occurs in statues meant for gardens and theatres. Hence we cannot reason from the painting of this head to the painting of statues in the fourth century.
too ROMAN AR...T for the present, the reader need only be reminded that we must beware of arguing hastily from the analogy of modern and quite recent illusionist painting back to the antique. Because the best known and most important of the modern illusionists had to work his way to the atmosphere of light in which his pictures are bathed by first conquering the classicising asphaltists and the tenebrosi, who them- selves were already illusionists, and because the more recent impressionists work almost only in sunshine it might easily appear as if painting in light was an integral element of illusionism, and that illusionism, be it in colour, be it in some other respect, was the necessary result of this method of painting.
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You can find similar books in the "Read Also" column, or choose other free books by Wickhoff, Franz, 1853-1909 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
K. Bliimner, Technologie, III. p. 201), and hence a coating of wax would be necessary.
* Georg Treu. Archciologisches Jahrbuch, IV. p. 18, Taf. I. Treu's suggestion that this is an imitation of a Greek fourth century original is a pure conjecture. It is a superficially executed ideal head of later Imperial times such as repeatedly occurs in statues meant for gardens and theatres. Hence we cannot reason from the painting of this head to the painting of statues in the fourth century.
too ROMAN AR...T for the present, the reader need only be reminded that we must beware of arguing hastily from the analogy of modern and quite recent illusionist painting back to the antique. Because the best known and most important of the modern illusionists had to work his way to the atmosphere of light in which his pictures are bathed by first conquering the classicising asphaltists and the tenebrosi, who them- selves were already illusionists, and because the more recent impressionists work almost only in sunshine it might easily appear as if painting in light was an integral element of illusionism, and that illusionism, be it in colour, be it in some other respect, was the necessary result of this method of painting.
What to read after Roman Art; Some of Its Principles And Their Application to Early Christian Painting;?
You can find similar books in the "Read Also" column, or choose other free books by Wickhoff, Franz, 1853-1909 to read onlineMoreLess
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