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[fxvt-users] extremely drunkenness


From: Montagu Savage
Subject: [fxvt-users] extremely drunkenness
Date: Sun, 10 Sep 2006 13:34:25 +0200

He painted many gods, heroes, and allegories, with muchgracefulness, as Pliny puts it. It shows meander, wave, and other designs, and is called the geometrical style. The color was arbitrary,not natural, and there was little perspective, light-and-shade, orrelief. This may be seen in anyof the battle-pieces of Rameses II. Light-and-shade was certainly employed inthe figure, but not in any modern way. The painters of this school advanced upon the work of Apollodorus asregards realistic effect.
The British, Berlin, and Paris collections are perhaps as complete as any. The king was the state in Egypt, and inAssyria the monarch was even more dominant and absolute.
Misery andsqualor, with intellectual blackness, succeeded. ETRUSCAN PAINTING: Painting in Etruria has not a great deal ofinterest for us just here.
That they modelled in strongrelief is more questionable. None of this intermediate art holds much rank byvirtue of its inherent worth.
Thus painting assumed a more decorativenature.
What was worse, it copiedthe degeneracy of Greece by following the degenerate Hellenisticpaintings. These outline drawings were not realistic in any exact sense. After that date the figures werebetter, though short and squat. At the time and after Alexander Greekinfluence held sway. ART REMAINS: Persian painting is something about which little is known because little remains.
The military life ofthe Empire had begun to give way to the monastic and feudal life ofthe Church.
It was the lastreflection of Mesopotamian splendor.
It did not differ indesign from the bas-reliefs or the tile mosaics. Thesubjects related to the Trojan War and the adventures of Ulysses. Light-and-shade was certainly employed inthe figure, but not in any modern way. ART REMAINS: Persian painting is something about which little is known because little remains.
Again themotives seem trifling, but again advancing technical power is shown. There was no greatdemonstration of religion by form and color, as in Egypt.
The king was the state in Egypt, and inAssyria the monarch was even more dominant and absolute.
Light-and-shade was certainly employed inthe figure, but not in any modern way. PHOENICIAN, CYPRIOTE, AND ASIA MINOR PAINTING. These outline drawings were not realistic in any exact sense.
EXTANT REMAINS: There are few wall or panel pictures of Greek times in existence. They knew the outlineswell, and drew them with force and grace.
It shows meander, wave, and other designs, and is called the geometrical style.
He painted many gods, heroes, and allegories, with muchgracefulness, as Pliny puts it.
But the Roman world,with all its classicism and learning, was dying. There wasno attempt to place objects in the setting which they hold in nature.

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