John Ruskin

COLOR.

 

61. The distinctions between schools of art which I have so often asked you to observe are, you must be aware, founded only on the excess of certain qualities in one group of painters over another, or the difference in their tendencies; and not in the absolute possession by one group, and absence in the rest, of any given skill.

FOOTNOTES

 

[1] "Lectures on Art, 1870," § 23.

[2] National Gallery, No. 812.

[3] Make a note of these points:

1. Date, time of day, temperature, direction and force of wind.

AURORA

 

(GUIDO RENI)

JOHN CONSTABLE

MARRIAGE A-LA-MODE

 

(HOGARTH)

AUSTIN DOBSON

MAGDALEN IN THE DESERT

 

(CORREGGIO)

AIMÉ GIRON

THE ASSUMPTION OF THE VIRGIN

 

(TITIAN)

THÉOPHILE GAUTIER

THE MADONNA OF THE ROCKS

 

(LEONARDO DA VINCI)

THÉOPHILE GAUTIER

BANQUET OF THE ARQUEBUSIERS

 

(VAN DER HELST) WILLIAM MAKEPEACE THACKERAY

The Night-Watch at Amsterdam is magnificent in parts, but on the side to the spectator's right, smoky and dim. The Five Masters of the Drapers is wonderful for depth, strength, brightness, massive power. What words are these to express a picture!

THE NIGHT WATCH

 

(REMBRANDT)

EUGÈNE FROMENTIN

BEATRICE CENCI

 

(GUIDO RENI)

PERCY BYSSHE SHELLEY

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