Notes Upon Certain Masters Of The Xix Century Classic Reprint

Excerpt from Notes Upon Certain Masters of the XIX Century HE exhibition in June, 1883, in the rue de Seze, of one hundred of the most celebrated paintings then owned in Paris was the most notable event of its kind that had happened in the artistic history of that city. Americans who were abroad in that year and saw this. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1886 edition. Excerpt: ... Antoine Louis Barye NTIMATELY associated with the great phalanx of genius so sympathetically and instructively considered by M. Wolff was one who in his own region of art stood second to none that then was or that had gone before. This was BARYE, the greatest and, in his time, the most misunderstood genius of the century. Inasmuch as a not indifferent opportunity is afforded to know the work of the great sculptor, it will be interesting to note what thai accomplished critic, M. GustAve Planch, wrote of him in 1854, when there were yet to be unfolded over twenty years of his glorious career. JOR twenty years Barye's works have been before the eyes of the public; they are numerous, and deservedly admired, but notwithstanding this, no one has yet taken the trouble to study them as a whole. I am going to try to fill that vacuum. M. Barye's talent is at the present time in the fullness of its maturity, but he has not spoken his last word. Notwithstanding its continuance and its diversity, it is to be doubted if he stops at the point he has attained. Therefore, what I will say of his collective work must not be considered as final. Is it necessary to add that I do not pretend, in expressing my own opinion, to anticipate that of posterity? In a case like this, modesty is always prescribed by good sense. If I venture at present to form an opinion, it is because M. Barye's talent, without being false to its origin, has nevertheless already undergone a succession of transformations; and that there is in these same transformations matter for interesting study. I am perfectly sure that to this day M. Barye adheres to the convictions he held twenty years ago; but in ferreting out with as much ardor the secrets of nature, which he took as a model and...

Extremely pliable yet amazingly durable, metal offers infinite decorative options. Here are 1,000 prime examples of French metal masterworks, painstakingly reproduced from an extremely rare and valuable edition. From the everyday to the ornate, items include: Weather vanes Tiles Waterspouts Trims Basins Pike heads You'll also find hundreds of other images, offering a wealth of inspiration and useful historical designs.

This peer-reviewed conference volume examines paper and material aspects of the written word in early modern Europe. The collection is designed around three thematic strands, based on the lifecycle of handwritten documents and manuscripts and printed books: first, production of paper, second production of books and manuscripts and third, trade and exchange, and ownership of manuscripts and books. By tracing the history of paper, books and collections through case studies of historically important objects, the authors identify agents and hotspots of production, trade and ownership from both centres and peripheries of Europe from the late Middle Ages until the beginning of industrialisation. They thereby address material aspects of documents, manuscripts and books, as well as object biography, from an interdisciplinary viewpoint. By doing so this volume provides insight into actual practices of the past and the material history of written texts.

Based on two international conferences held at Cornell University and the Freie Universität of Berlin in 2010 and 2015, this volume is the first ever to explicitly address the destruction of plaster cast collections of ancient Mediterranean and Western sculpture. Focusing on Europe, the Americas, and Japan, art historians, archaeologists and a literary scholar discuss how different museum and academic traditions – national as well as disciplinary –, notions of value and authenticity, or colonialism impacted the fate of collections. The texts offer detailed documentation of degrees of destruction by spectacular acts of defacement, demolition, discarding, or neglect. They also shed light on the accompanying discourses regarding aesthetic ideals, political ideologies, educational and scholarly practices, or race. With destruction being understood as a critical part of reception, the histories of cast collections defy the traditional, homogenous narrative of rise and decline. Their diverse histories provide critical evidence for rethinking the use and display of plaster cast collections in the contemporary moment.

A reissue in paperback of a title first published in 1949.

Excerpt from Culturgeschichtliche Novellen It is as in some sort an introduction to such a study of German as I have endeavoured to indicate, so far as this is possible under the limitations of a commentary on a given text, that the present volume has been prepared. The notes are numerous and copious, but I trust they will commend themselves as not of the kind that paralyse the student's own mental activity by superseding the necessity for it; but rather as stimulating it by presenting suitable material in a workable form, and furnishing guidance in such a way as to lead to future independence. The material has of course been supplied in the first place by the text itself. This has been to a small extent supplemented, but chiefly elucidated and illustrated, by matter drawn from sources many of them inaccessible to the English reader. A not inconsiderable element may lay some claim to origi nality, and perhaps this will be the most valuable part of the book to the real student, because treating from the objective standpoint of the foreigner, specially of the Englishman, matters of idiomatic difficulty upon which only scattered hints are to be found in sources English or German. I may refer particularly to the notes on the particles, on the exact force, as felt in the original, of words like erst, z'ibrzlgms, vol lends, &c., and of certain familiar but peculiar modes of con ception and expression which are too completely ingrained in the consciousness of a native for him easily to make them the objects of analysis or of explanation to others. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.