Art

Lectures on Art, Delivered Before the University of Oxford in Hilary Term, 1870

The following lectures were the most important piece of my literary work done with unabated power, best motive, and happiest concurrence of circumstance. They were written and delivered while my mother yet lived, and had vividest sympathy in all I was attempting;--while also m...

Chapters

11. Part 11

160. It may make this more believable to you if I put beside each other a piece of detail from each school. I gave you the St. John of Cima da Conegliano for a type of the colou...

5. Part 5

65. And how much more there is that I long to say to you; and how much, I hope, that you would like to answer to me, or to question me of! But I can say no more to-day. We are n...

6. Part 6

81. But the truly great nations nearly always begin from a race possessing this imaginative power; and for some time their progress is very slow, and their state not one of inno...

7. Part 7

101. Well, you must have the skill, you must have the beauty, which is the highest moral element; and then, lastly, you must have the verity or utility, which is not the moral,...

4. Part 4

46. Now the faculty of vision, being closely associated with the innermost spiritual nature, is the one which has by most reasoners been held for the peculiar channel of Divine...

3. Part 3

29. "Vexilla regis prodeunt." Yes, but of which king? There are the two oriflammes; which shall we plant on the farthest islands,--the one that floats in heavenly fire, or that...

2. Part 2

Also, powers of doing fine ornamental work are only to be reached by a perpetual discipline of the hand as well as of the fancy; discipline as attentive and painful as that whic...

8. Part 8

120. Well, the gist of this matter lies here then. Suppose we want a school of pottery again in England, all we poor artists are ready to do the best we can, to show you how pre...

9. Part 9

But it is something to get this simple definition; and I wish you to notice that the terms of it are complete, though I do not introduce the term "light," or "shadow." Painters...

10. Part 10

And especially I must explain, and ask you to note the sense in which I use the word "mass." Artists usually employ that word to express the spaces of light and darkness, or of...

1. Part 1

The following lectures were the most important piece of my literary work done with unabated power, best motive, and happiest concurrence of circumstance. They were written and d...

12. Part 12

174. Now, the course of our main colour schools is briefly this:--First we have, returning to our hexagonal scheme, line; then _spaces_ filled with pure colour; and then _masses...