Download PDF by John C. van Dyke: A Text-Book of the History of Painting (Illustrated Edition)

By John C. van Dyke

John Charles van Dyke (1856-1932) used to be an American artwork historian and critic. He used to be born at New Brunswick, N. J., studied at Columbia, and for a few years in Europe. along with his publication chronicling the heritage of portray from cave work to the fashionable period. absolutely illustrated.

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Extra info for A Text-Book of the History of Painting (Illustrated Edition)

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FIG. —CHRIST AS GOOD SHEPHERD. MOSAIC, RAVENNA, FIFTH CENTURY. The color was rich and the mechanical workmanship fair for the time, but the figure had become paralytic. It shrouded itself in a sack-like brocaded gown, had no feet at times, and instead of standing on the ground hung in the air. Facial expression ran to contorted features, holiness became moroseness, and sadness sulkiness. The flesh was brown, the shadows green-tinted, giving an unhealthy look to the faces. Add to this the gold ground (a Persian inheritance), the gilded high lights, the absence of perspective, and the composing of groups so that the figures looked piled one upon another instead of receding, and we have the style of painting that prevailed in Byzantium and Italy from about the ninth to the thirteenth century.

They were doubtless somewhat like the vase paintings— profile work, without light, shade, or perspective. At the time and after Alexander Greek influence held sway. Fabius Pictor (fl. ) is one of the celebrated names in historical painting, and later on Pacuvius, Metrodorus, and Serapion are mentioned. In the last century of the Republic, Sopolis, Dionysius, and Antiochus Gabinius excelled in portraiture. ), though after that there were interesting portraits produced, especially those found in the Fayoum (Egypt).

He knew little of light, shade, perspective, and color, and in characterization was feeble, except in some late work. One face or type answered him for all classes of people—a sweet, fair face, full of divine tenderness. His art had enough nature in it to express his meanings, but little more. He was pre-eminently a devout painter, and really the last of the great religionists in painting. The other regions of Italy had not at this time developed schools of painting of sufficient consequence to mention.

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