File:How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and (14594952927).jpg

Identifier: howtostudypictur1910caff (find matches)
Title: How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods
Year: 1910 (1910s)
Authors: Caffin, Charles Henry, 1854-1918
Subjects: Monet,Claude, 1840-1926 Painting Painting
Publisher: New York : The Century Co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
nd individual energy.France, as a nation, was reborn, and—which had moreinfluence upon the world at large—out of this Revolu-tion, and the American one which preceded it, was bornanew the idea of individualism. David represented theprotest, and had no small share in promoting it; Dela-croix, the fervor of personal feelings, let loose by indi-vidualism. It was in 1784, in Rome, after he had completed hisstudies at the French Academy, that David produced thepicture of Brutus and this Oath of the Horatii. Inthem he went back to the original Roman models uponwhich the Classic style of Poussin, then the model of theAcademic school, had been founded. Here are the semi-circular arches and the vaulting, which were the mostcharacteristic developments of Roman architecture, andcolumns such as the artist may have copied from theBaths of Marcellus. And against this background thefigures are set as if carved in low relief, like those onthe column of Trajan, of which David was so fond. By (308)
Text Appearing After Image:
'

Note About Images