Text corrections
TYPES OF FEMALE BEAUTY. HANS MAKART AND EDWIN LONG, R.A. (FROM OUR SPECIAL CORRESPONDENT.) LONDON, APRIL 16.
The Sydney Morning Herald (NSW : 1842 - 1954) Wednesday 10 June 1885, page 5
Article
The Sydney Morning Herald (NSW : 1842 - 1954) Wednesday 10 June 1885, page 5
Article
| Changed | By | Old Lines | New Lines |
|---|---|---|---|
| 2012-05-01 20:20:52.0 | user:public:johnfox | suggesting a move. On the oposite side of the head standing majontioally out of a stiff Medici who stands in the water *n<l supports a wanton youth- the spectators, is a full-léngth straw-coloured-hair upon which another bather reolines. This oae is of the a rich deep-coloured crimson velvet ourtain, which balances a deep blue arras to the right The pavilion relief, This reclining bather is very lovely, and all her except that over her left knee, and acrosB her body falls carelessly a pearly Bhot-silk drapery. She, with out- stretched hand-and a lovely hand it is-is toying Thia work, like all Makart's, is purely spectacular. In inmptuousness, " in the pomp of colour so exalted, drapery, Makart was a disciple of Psul Veronese, and follower of liubena. The result is very splendid ; but humaoness of Bubene. His work is therefore, though popular, theatrical instead of dramatio; and oharaoter, either mental or emotional. Of Paul Veronese »chanting music. Of Makart, a witty Frenchman, laid that his art was like the music of a brass band. ' ' Summer " ÍB to be reproduced in photo-gravure, and fou will shortly, I have no doubt, be able to test the , {raphicnees of this present description. | suggesting a move. On the opposite side of the head standing majestically out of a stiff Medici who stands in the water and supports a wanton youth- the spectators, is a full-length straw-coloured-hair upon which another bather reclines. This one is of the a rich deep-coloured crimson velvet curtain, which balances a deep blue arras to the right. The pavilion relief. This reclining bather is very lovely, and all her except that over her left knee, and across her body falls carelessly a pearly shot-silk drapery. She, with out- stretched hand - and a lovely hand it is - is toying This work, like all Makart's, is purely spectacular. In sumptuousness, " in the pomp of colour so exalted, drapery, Makart was a disciple of Paul Veronese, and follower of Rubens. The result is very splendid ; but humanness of Rubens. His work is therefore, though popular, theatrical instead of dramatic; and character, either mental or emotional. Of Paul Veronese chanting music. Of Makart, a witty Frenchman, said that his art was like the music of a brass band. ' ' Summer " is to be reproduced in photo-gravure, and you will shortly, I have no doubt, be able to test the graphicness of this present description. |
| 2012-05-01 20:16:04.0 | user:public:johnfox | suggesting a move. On the pposite side of the | suggesting a move. On the oposite side of the |
| 2012-05-01 20:15:38.0 | user:public:johnfox | TTPJE3 OF FEMALE BEAUTY. , PANS IIAKABT AND EDWIN LONG, B.A» I that is, painting the nude as such, and for it« own R.A. ; and one is by a Russian, Mr. BukoTac. This last, indifferently styled "The "White Slave" and Nat»," is the realistio depiction of an entirely nude .woman reolining. It will be tngravsd and published Wales ; but it ÍB outside the object of this letter, and in 1 think, be no doubt that Hans Makart painted his enormous canvas (25 feet by 16). entitled " Summer," representing nude figures; and the same must bo said of Mr. Long's two canvases of " Zeusis at Crotona," a Man of Pleasure," "Borneo Beside the Body of " Enhance of the Emperor Charles V. into Antwerp." This was at the Paris Exhibition in 187S, and of it then ii an excellent etching on a large scale, which many of your readers will bave seen, and which will racal'l the conspicuous young ladies in their " birthday Wfaat particular reason the artist bad for repre- senting nude women in suoh a procession either from able to discern. The work causod a great sensation, of course, and it murt be (aid that that sensation was jueti Had by the cleverness and vigour of the work, and the general, for he was a great favourite at the Conrt members of the oommunity. So great indeed was the tbe aristocracy sat to him as models. A strange con- dition of' manners may be indioated by that faot, bnt it is not obvious that there is any- sitting aa a model out of pure resthetio emperor, tress, is a marble bath. On a sultry day some ladlee bath, after which some are reposiog, others playing chees, and others again looking on. To the right, in the foreground, with her bock to the spectator, is a haughty dame, dad in a bronze-colour brocade, absorbed suggesting a move, Oo tne opposite side of the (»OK OU» BPBOIAL COERESrONDEKT.) , , The» are «one piotures now on exhibition m lectual and moral adventagee of painting the nude "We will first look at these pictures, haye a word or about dO. He literally worked himself to death. He was bom at Salzburg, in 1844, and studied at Muoioh In the Sohool of Piloty. He made his first gmt imprsBsion on European publio opinion in 1867, when he exhibited at the Paris Exhibition a largs pic- high prices. The " Catherine Oornaro," now at Berlin, cost £2600. His best known works are-" Tbe Seven LONDON, ArniT, 16. | TYPES OF FEMALE BEAUTY. HANS MAKART AND EDWIN LONG, R.A. that is, painting the nude as such, and for its own R.A. ; and one is by a Russian, Mr. Bukovac. This last, indifferently styled "The White Slave" and Nana," is the realisti depiction of an entirely nude woman reclining. It will be engraved and published Wales ; but it is outside the object of this letter, and in I think, be no doubt that Hans Makart painted his enormous canvas (25 feet by 16), entitled " Summer," representing nude figures; and the same must be said of Mr. Long's two canvases of " Zeuxis at Cretone," a Man of Pleasure," "Romeo Beside the Body of " Entrance of the Emperor Charles V. into Antwerp." This was at the Paris Exhibition in 1878, and of it then is an excellent etching on a large scale, which many of your readers will have seen, and which will racall the conspicuous young ladies in their "birthday What particular reason the artist had for repre- senting nude women in such a procession either from able to discern. The work caused a great sensation, of course, and it must be said that that sensation was justi- fied by the cleverness and vigour of the work, and the general, for he was a great favourite at the Court members of the community. So great indeed was the the aristocracy sat to him as models. A strange con- dition of' manners may be indicated by that fact, but it is not obvious that there is any- sitting aa a model out of pure aesthetic emperor. trees, is a marble bath. On a sultry day some ladies bath, after which some are reposing, others playing chess, and others again looking on. To the right, in the foreground, with her back to the spectator, is a haughty dame, clad in a bronze-colour brocade, absorbed suggesting a move. On the pposite side of the (FROM OUR SPECIAL CORRESPONDENT.) There are some piotures now on exhibition in lectual and moral advantages of painting the nude "We will first look at these pictures, have a word or about 40. He literally worked himself to death. He was born at Salzburg, in 1844, and studied at Munich in the School of Piloty. He made his first great impression on European public opinion in 1867, when he exhibited at the Paris Exhibition a large pic- high prices. The " Catherine Cornaro," now at Berlin, cost £2500. His best known works are-" Tbe Seven LONDON, APRIL, 16. |