File:History of art (1921) (14596724280).jpg

Identifier: historyofar02faur (find matches)
Title: History of art
Year: 1921 (1920s)
Authors: Faure, Elie, 1873-1937 Pach, Walter, 1883-1958
Subjects: Art
Publisher: New York and London : Harper & brothers
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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Text Appearing Before Image:
Rampillon (Seine-et-Marne) (xiii Century). TheCarpenter. Altar screen of the church. the stone in rhythmic waves over the whole extent ofthe planes, to make all the figures participate in thecosmic equilibrium. The Frenchman almost invariablyconcentrates it in a bowed forehead, in a raised chin,a shoulder, a dress, an elbow, a haunch or a knee,
Text Appearing After Image:
Rheims (xiii Century). Figures from the porch. (Cathedral.) 318 MEDIAEVAL ART which often breaks the Hne that one anticipates, sothat we may see more clearly the direct, actual, andsimple meaning of the action that he wants to ex-press. ... In the sculptures of Olympia and in theFates of the Parthenon there was, doubtless, the dawnof a modeling similar in spirit to the Gothic. But thedesire for harmony dominated everything. The contours of the Gothic statue are less definedthan they were among the Egyptians and less subtlethan among the Greeks. They are more varied andmore living, for the light changes more frequently andis more diffused, and above all because they express aworld of moral needs which neither the Greeks nor theEgyptians could feel. Never had shadows and lightsbeen distributed with such an understanding of theirpsychological value. Never had the material beenworked with an emotion so concrete, never had a moreprofound, a more complete, and a more gentle radianceemanated

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