Word: painting
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Dates: during 1890-1899
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...Michael Angelo chose for his emblem the figure of an old man in a child's go-cart with the motto, anchor impair,- I am still learning. Titian, dying of the plague at ninety-nine, exclaimed sadly, "My God, must I die now, just as I had learned to paint an eye!" Indeed the word learning, which we use to express a result, does by its very form imply an unfinished and unfinishable process. What the judgment requires is range, and this is only acquired by trigonometrical exactness in establishing the position and measuring the relations of isolated points. Moreover...
...Portrait," and the general plot is as follows: A young artist, Richard Streicher, inherits a fortune and studio at the death of his uncle after whom he is named. An old maid hoping to please her brother-in-law, writes to the elder Richard Streicher asking him to paint the portrait of her niece, explaining at the same time that she thoroughly disapproves of young artists. The young Richard Streicher receives the note and takes in the situation. He disguises himself and so wins the confidence of the aunt by his politeness that she leaves him with her niece...
This early work has the appearance of youth, it seems undeveloped, unfinished in style, but it brings with these qualities the fire, earnestness and frankness of youthful enthusiasm. The constant aim of these independent workers was to paint what they saw as they saw it. Art in this early period of the Renaissance is comparable to a great uncut diamond which appears in the sixteenth century cut and ready for polish, but it is not until the seventeenth century that we see the jewel in its perfection. After the seventeenth century the diamond degenerates into a mere imitation...
Nine Rutgers freshmen have been summoned into court for painting the president of the sophomore class with green paint...
...question of local color is the hardest that comes to the artist. Things are not really the way they look. When we paint for example a summer scene, putting in all the rich greens and other bright colors, we get nothing approaching the true effect. Those artists who have been most successful in catching the salient points of a scene and in making it all true, use always soft colors, gray and yellow ochre. The best examples of this sort of work are the wonderful paintings of Cazin...