Modern Painters .. Five (5)
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204: less important than light.
shade, and form. i. 13-3. 243. v. .3-15 mote) : sombrencss of modern, ii'. 275. 281 : sen- timental falsification of. iii. 48: arrnnge- ', by the false idealist and natural- ist, i i. 90 : done be-t by instinct (Hindoos and Chinese), iii. 107: use of full, in shadow, very lovely, iv. 57, v. 344 : ground, use of, by great painters, v. 2(18, 210 : no- -- of painting dependent on, v. 340; a type of love, v. 343. 3-14 (note) : use of, shadowless in representing the s...upernat- ural, ii. 415: right splendor of, in flesh painting, ii. 316 ; delicate, of the idealists, ii. 117 : local, how f ir expressible in black and white, ii. 164; natural, compared with art ficial, i. 227 : destroyed by gen- eral purple tone. i. 240 ; manifestation of, in sunsets, i. 231. 284 : qnlaity of, owes part of its brightness to lig) t. i. 210. 219 ; natural, impossibility of imitating (too intense) i. 227,235: imitative, how much truth necessary to, i. 89; effect of associ ntion upon, i.
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You can find similar books in the "Read Also" column, or choose other free books by Ruskin, John, 1819-1900 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
204: less important than light.
shade, and form. i. 13-3. 243. v. .3-15 mote) : sombrencss of modern, ii'. 275. 281 : sen- timental falsification of. iii. 48: arrnnge- ', by the false idealist and natural- ist, i i. 90 : done be-t by instinct (Hindoos and Chinese), iii. 107: use of full, in shadow, very lovely, iv. 57, v. 344 : ground, use of, by great painters, v. 2(18, 210 : no- -- of painting dependent on, v. 340; a type of love, v. 343. 3-14 (note) : use of, shadowless in representing the s...upernat- ural, ii. 415: right splendor of, in flesh painting, ii. 316 ; delicate, of the idealists, ii. 117 : local, how f ir expressible in black and white, ii. 164; natural, compared with art ficial, i. 227 : destroyed by gen- eral purple tone. i. 240 ; manifestation of, in sunsets, i. 231. 284 : qnlaity of, owes part of its brightness to lig) t. i. 210. 219 ; natural, impossibility of imitating (too intense) i. 227,235: imitative, how much truth necessary to, i. 89; effect of associ ntion upon, i.
What to read after Modern Painters .. Five (5)?
You can find similar books in the "Read Also" column, or choose other free books by Ruskin, John, 1819-1900 to read onlineMoreLess
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