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ART
These are very rare books photocopied in libraries all over the world.
As such they differ from the rest of the books presented on this site.
I feel very privileged to be able to show them to you. In order to view these books more easily in pdf format,
I would advise you to choose the two pages display.
My purpose in this book is to elucidate, so far as I can, the principles which underlie the practice of drawing and painting
as a Fine Art. Art is generally regarded as the expression of feelings and emotions which have no explanation except perhaps
in such a word as inspiration, which is expletive rather than explanatory. Art is regarded as the one activity of man
which has no scientific basis, and the appreciation of Art is said to be a matter of taste in which no two persons can be
expected to agree. It is my purpose in this book to show how, in the practice of Art, as in all other practices, we use certain
terms and follow certain principles. Being defined and explained, these terms and principles may be known and understood
by everybody. They are, so to speak, the form of the language.
By Design I mean Order in human feeling and thought and in the many and varied activities by which that feeling or that thought is expressed.
By Order I mean, particularly, three things, Harmony, Balance, and Rhythm. These are the principal modes in which Order is revealed in Nature
and, through Design, in Works of Art.
Walter Crane (1845 - 1915) was an English artist and book illustrator. He is considered, along with Randolph Caldecott and Kate Greenaway,
one of the strongest contributors to the child's nursery motif that the genre of English children's illustrated literature would exhibit in its
developmental stages in the latter 19th century. His work featured some of the more colorful and detailed beginnings of the child-in-the-garden
motifs that would characterize many nursery rhymes and children's stories for decades to come. He was part of the Arts and Crafts movement and
produced an array of paintings, illustrations, children's books, ceramic tiles and other decorative arts.
The drawing's that are presented here show the conceptions that have proved simplest and most effective in constructing the human figure.
The eye in drawing- must follow a line or a plane or a mass. In the process of drawing, this may become a moving line, or a moving plane, or a moving
mass. The line, in actual construction, must come first ; but as mental construction must precede physical, so the concept of mass must come first,
that of plane second, that of line last.
Think in masses, define them in lines.
LEONARDO DA VINCI found in drawing the readiest and most stimulating way of self-expression. The use of pen and crayon came to him as naturally as
the monologue to an eager and egoistic talker. The outline designs in his "Treatise on Painting" aid and amplify the text with a force that is almost
unknown in modern illustrated books. Open the pages at random. Here is a sketch showing "the greatest twist which a man can make in turning to look
at himself behind.'* The accompanying text is hardly needed. The drawing supplies all that Leonardo wished to convey.
HANDBOOK OF PAINTING: THE ITALIAN SCHOOLS, PART I by LADY EASTLAKE
GREEK art sprang from Greek religion. It was art which gave the Gods form, character, and reality. The statue of
Jupiter Olympius brought the Father of the Gods himself before the eyes of men. He was deemed unfortunate who
died without beholding that statue. Art, among the Greeks, was an occupation of a priestly character : as it belonged to
her to lift the veil of mystery which concealed the Gods, so was it also her office to exalt and consecrate the human
forms under which they could alone be represented. The image of the God was no mere copy from common and
variable life ; it was stamped with a supernatural grandeur which raised the mind to a higher world.
In subjugating the territories of Greece to their dominion, the Romans had also reduced Grecian civilization and
Grecian art to their service.
William Hogarth (10 November 1697 – 26 October 1764) was a major English painter, printmaker, pictorial satirist, social critic and editorial cartoonist
who has been credited with pioneering western sequential art. His work ranged from realistic portraiture to comic strip-like series of pictures called
"modern moral subjects". Much of his work poked fun at contemporary politics and customs; illustrations in such style are often referred to as "Hogarthian".
Hokusai, the old man mad with painting by Edward Strange
Katsushika Hokusai (October or November 1760–May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period.
In his time, he was Japan's leading expert on Chinese painting. Born in Edo (now Tokyo), Hokusai is best-known as author of the woodblock print
series Thirty-six Views of Mount Fuji (c. 1831) which includes the iconic and internationally recognized print,
The Great Wave off Kanagawa, created during the 1820s.
Hokusai created the "Thirty-Six Views" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was
this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both within Japan and overseas.
Howard Pyle's Book of Pirates (1921) by Howard Pyle
Why is it that a little spice of deviltry lends not an unpleasantly titillating twang to the great mass of respectable flour that goes
to make up the pudding of our modern civilization? And pertinent to this question another—Why is it that the pirate has, and alway's
has had, a certain lurid glamour of the heroical enveloping him round about? Is there, deep under the accumulated debris of
culture, a hidden groundwork of the old-time savage? Is there even in these well-regulated times an unsubdued nature in the
respectable mental household of every one of us that still kicks against the pricks of law and order?
HUGH WYNNE, FREE QUAKER (1897) by S. Weir Mitchell
With Illustrations by Howard Pyle Howard Pyle (March 5, 1853 – November 9, 1911) was an American illustrator and writer, primarily of books for young audiences.
A native of Wilmington, Delaware, he spent the last year of his life in Florence, Italy.
Silas Weir Mitchell (February 15, 1829–January 4, 1914) was an American physician and writer.
His historical novels, Hugh Wynne, Free Quaker (1897), The Adventures of François (1898) and The Red City (1909), take high rank in this branch of fiction.
JACOPO CARUCCI DA PONTORMO: HIS LIFE AND WORK (1916) BY FREDERICK MORTIMER CLAPP
Jacopo Carucci (May 24, 1494 — January 2, 1557), usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was an Italian Mannerist
painter and portraitist from the Florentine school. His work represents a profound stylistic shift from the calm perspectival regularity that characterized
the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an
uncertain environment, unhampered by the forces of gravity.
John Singer Sargent (1955) by CHARLES MERRILL MOUNT
John Singer Sargent (January 12, 1856 – April 14, 1925) was an American painter, and a leading portrait painter of his era. During his career,
he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide
travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.
WE are surrounded with things which we have not made and which have a life and structure different from our
own : trees, flowers, grasses, rivers, hills, clouds. For centuries they have inspired us with curiosity and awe. They have
been objects of delight. We have recreated them in our imaginations to reflect our moods. And we have come to think of them
as contributing to an idea which we have called nature. Landscape painting marks the stages in our conception of nature. Its rise and
development since the middle ages is part of a cycle in which the human spirit attempted once more to create a harmony with its
environment. The preceding cycle, that of Mediterranean antiquity, had been so deeply rooted in the Greek sense of human values that
this concept of nature had played a subordinate part. The Hellenistic painter, with his sharp eye for the visible world, evolved a
school of landscape painting ; but, in so far as we can judge from the few surviving fragments, his skill in recording effects of light
was used chiefly for decorative ends. Only the Odysseus series in the Vatican suggests that landscape had become a means of poetical
expression, and even these are backgrounds, digressions, like the landscapes in the Odyssey itself
LEONARDO DA VINCI: AN ACCOUNT OF DEVELOPMENT AS AN ARTIST (1952) By: KENNETH CLARK
This book is concerned with the development of Leonardo da Vinci as an artist. His scientific and theoretical writings can be studied intelligently
only by those who have a specialised knowledge of medieval and renaissance thought. His art, and the personality it reveals, is of
universal interest, and like all great art should be re-interpreted for each generation.
Life and art of Albrecht Durer (1955) by ERWIN PANOFSKY
Albrecht Dürer (21 May 1471 – 6 April 1528) was a German painter, printmaker and theorist from Nuremberg.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of
the Northern Renaissance ever since. His well-known works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study
(1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European
landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Dürer's introduction of classical motifs into Northern art,
through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance.
This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
LIVES OF THE MOST EMINENT PAINTERS SCULPTORS AND ARCHITECTS:
VOLUME I. CIMABUE TO AGNOLO GADDI (1912) by GIORGIO VASARI
One day someone will write a treatise on those dinner parties whose fortunate conjunction of guests and ideas has changed the course of civilisation.
Cited no doubt would be that famous gathering in Rome in 1546 during which Cardinal Farnese asked Giorgio Vasari to assemble "a catalogue of artists and their works, listed in chronological order".
The result was 'The Lives of the Most Excellent Painters, Sculptors and Architects', first published in 1550 in Florence, and revised and extended for a second edition in 1568.
"The example of so many able men and all the various details of all kinds collected by my labours in this book will be no little help to practising artists as well as pleasing all those who follow and delight in the arts."
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