The Language of Drawing and Painting / / Arthur Pope.
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| Superior document: | Title is part of eBook package: De Gruyter HUP e-dition: Art & Architecture eBook Package |
|---|---|
| VerfasserIn: | |
| Place / Publishing House: | Cambridge, MA : : Harvard University Press, , [2013] ©1949 |
| Year of Publication: | 2013 |
| Edition: | Reprint 2014 |
| Language: | English |
| Online Access: | |
| Physical Description: | 1 online resource (162 p.) :; 53 illustrations |
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Table of Contents:
- Frontmatter
- PREFACE
- CONTENTS
- PLATES
- PART ONE. THE TERMS OF DRAWING AND PAINTING
- I. THE TERMS OF VISION AND OF DRAWING AND PAINTING. THE WORKING TONE SOLID
- 2. QUALIFICATIONS AND LIMITATIONS OF THE WORKING TONE SOLID - OTHER TONE SOLIDS - A TRUE TONE SOLID - PURITY AND BRILLIANCE
- PART TWO. MODES OF REPRESENTATION IN DRAWING AND PAINTING
- 3. THE VISUAL IMAGE AND VISUAL CONCEPTS
- 4. THE VISUAL EFFECT
- 5. THE MODES OF DRAWING
- 6. THE MODES OF PAINTING
- 7. VARIATIONS IN THE REPRESENTATION OF DETAIL AND IN THE TREATMENT OF TONE RELATIONS IN PAINTING
- 8. THE USE OF LIMITED PALETTES OR LIMITED TONE SEQUENCES
- 9. CONCLUSION -THE USE OF DIFFERENT MODES IN RECENT PAINTING
- APPENDIX
- I. DESIGN IN TONE RELATIONS
- II. THE EMOTIONAL SIGNIFICANCE OF DIFFERENT GENERAL TONALITIES
- III. THE QUESTION OF PREFERENCE FOR INDIVIDUAL TONES
- IV. A HYBRID MODE OF DRAWING AS ILLUSTRATED IN WINCHESTER MSS.
- BIBLIOGRAPHICAL NOTE
- PLATES