This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Six Lectures On Painting: Delivered To The Students Of The Royal Academy Of Arts In London, January, 1904 3 George Clausen Dutton, 1906 Painting

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. 1906 edition. Excerpt: ... V ON LANDSCAPE AND OPEN-AIR PAINTING ON LANDSCAPE AND OPEN-AIR PAINTING THE main development of painting in the last century has been in the direction of landscape painting, and, as allied to it, of figures under the conditions of outdoor lighting --in the open air. We may go back to the Italian Primitives for the first landscape painters, although landscape was then only an accessory, and did not, as a rule, consist of more than a sky and a view of distant country, used as a background for figures. But these little glimpses of landscape, especially the skies, are most interesting and beautiful. I do not, indeed, think that skies have at any time been painted which give the feeling of light so beautifully, or a finer, purer sentiment in the landscape itself. There is a very fine instance in the large fresco by Perugino in the National Gallery--a picture representing the " Adoration of the Shepherds." The figures are in a field, under a very light and delicate sky. The tender sentiment of the scene is much the same as we find in the pictures of Corot. In the little "Crucifixion" by Antonello da Messina, also in the National Gallery, there is a landscape--the effect is that of dawn--with a sky of the most beautiful quality; and, among many others, there are two pictures by Ambrogio Bourgognone, a contemporary of Da Vinci's, also in the National Gallery, which have, in their backgrounds, charming little glimpses of rivers and towns, painted very freely and sweetly, as one would like to see them painted to-day. And the picture of "Christ in the Garden," by Bellini, shows a landscape splendid in the tragic sentiment of its colour, especially in the lurid sky. You know the picture; the effect is that of nightfall. And there is also, in the...