ISBN: 9781236176080

Cambridge University Press. Paperback. New. Paperback. 372 pages. Dimensions: 9.0in. x 6.0in. x 1.2in.Sir Edward Coley Burne-Jones (1833-98) emerged from a solitary, motherless childhoo… Meer...

Cambridge University Press. Paperback. New. Paperback. 372 pages. Dimensions: 9.0in. x 6.0in. x 1.2in.Sir Edward Coley Burne-Jones (1833-98) emerged from a solitary, motherless childhood to form close friendships with William Morris and such other luminaries of the Victorian art world as Dante Gabriel Rossetti and John Ruskin. A second generation Pre-Raphaelite and founder member of the Morris firm, he was influential in many areas, from painting, stained glass and tapestry design to book illustration. His later work, including such iconic paintings as The Wheel of Fortune, The Golden Stairs (which caused a sensation when exhibited at the Grosvenor Gallery) and The Sleep of Arthur in Avalon, influenced and exemplified the Aesthetic Movement, and inspired the European Symbolists. His wife, Georgiana Burne-Jones (1840-1920), published this engaging two-volume biography in 1904. Volume 1 describes his formative years, important early relationships, projects such as the murals for the Oxford Union debating chamber, and his arrival at full maturity with the St George series of 1865-7. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN., Cambridge University Press, RareBooksClub. Paperback. New. This item is printed on demand. Paperback. 294 pages. Dimensions: 9.7in. x 7.4in. x 0.6in.This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 Excerpt: . . . at them separately; and if we distinguish iM. iay r J and tacrificed. them trom each other only by the air-tone and indistinctness dependent on positive distance, we violate one of the most essential principles of nature; we represent that as seen at once which can only be seen by two separate acts of seeing, and tell a falsehood as gross as if we had represented four sides of a cubic object visible together. Now, to this fact and principle, no landscape painter of the old school, as far as I remember, ever paid the slightest This incapacity of the eye must not be confounded with its incapability to comprehend a large portion of lateral space at once. We indeed can see, at any one moment, little more than one point, the objects beside it being confused and indistinct; but we need pay no attention to this in art, because we can see just as little of the picture as we can of the landscape without turning the eye; and hence any slurring or confusing of one part of it, laterally, more than another, is not founded on any truth of nature, but is an expedient of the artist--and often an excellent and desirable one--to make the eye rest where he wishes it. But as the touch expressive of a distant object is as near upn the canvas as that expressive of a near one, both are seen distinctly and with the same focus of the eye; and hence an immediate contradiction of nature results, unless one or other be given with an artificial or increased indistinctness, expressive of the appearance peculiar to the unadapted focus. On the other hand, it must be noted that the greater part of the effect above described is consequent, not on variation of focus, but on the different angle at which near objects are seen by each of the two eyes, when both are directed towards the. . . This item ships from La Vergne,TN., RareBooksClub<

ISBN: 9781236176080

RareBooksClub. Paperback. New. This item is printed on demand. Paperback. 294 pages. Dimensions: 9.7in. x 7.4in. x 0.6in.This historic book may have numerous typos and missing text. Pur… Meer...

RareBooksClub. Paperback. New. This item is printed on demand. Paperback. 294 pages. Dimensions: 9.7in. x 7.4in. x 0.6in.This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 Excerpt: . . . at them separately; and if we distinguish iM. iay r J and tacrificed. them trom each other only by the air-tone and indistinctness dependent on positive distance, we violate one of the most essential principles of nature; we represent that as seen at once which can only be seen by two separate acts of seeing, and tell a falsehood as gross as if we had represented four sides of a cubic object visible together. Now, to this fact and principle, no landscape painter of the old school, as far as I remember, ever paid the slightest This incapacity of the eye must not be confounded with its incapability to comprehend a large portion of lateral space at once. We indeed can see, at any one moment, little more than one point, the objects beside it being confused and indistinct; but we need pay no attention to this in art, because we can see just as little of the picture as we can of the landscape without turning the eye; and hence any slurring or confusing of one part of it, laterally, more than another, is not founded on any truth of nature, but is an expedient of the artist--and often an excellent and desirable one--to make the eye rest where he wishes it. But as the touch expressive of a distant object is as near upn the canvas as that expressive of a near one, both are seen distinctly and with the same focus of the eye; and hence an immediate contradiction of nature results, unless one or other be given with an artificial or increased indistinctness, expressive of the appearance peculiar to the unadapted focus. On the other hand, it must be noted that the greater part of the effect above described is consequent, not on variation of focus, but on the different angle at which near objects are seen by each of the two eyes, when both are directed towards the. . . This item ships from La Vergne,TN., RareBooksClub<