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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Painting Popularly Explained: Including Fresco, Oil, Mosaic, Water-Color, Water-Glass, Tempera, Encaustic, Miniature, Painting On Ivory, Vellum, Pottery, Porcelain, Enamel, Glass, &C. With Historical Sketches Of The Progress Of Art has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.
WE have seldom had occasion to notice a more useful and well-timed publication than the unpretending little manual lately put forth by Messrs. Gullick and Timbs under this title. The latter of these gentlemen is well known as the compiler of various excellent books of reference. His great experience of the tastes and needs of the reading public has shown him that there is a demand for some familiar explanation of the processes and technical terms of the painter's art, as well as for a sketch of its history; and, with the aid of an artist temporarily incapacitated by an accident from the practice of his profession, he has, in this volume, very successfully supplied the want. That such a book is needed, in the opinion of so competent a judge, is in itself a very hopeful sign of the growing interest taken by the public in questions affecting the Fine Arts. Happily, of late years critics and writers have condescended to speak of matters of art in ordinary language; and a too obtrusive use of technical terms would now be universally laughed at. Even Dr. Waagen has been irreverently suspected of sometimes hiding the inanity of his matter under the magniloquence of his phraseology. Such solemn-sounding words as megilp and impasto naturally awe the uninitiated. The table-talk of artists and their familiar letters are still too often full of professional slang, spiced with scraps of foreign languages picked up at the Caffe de' Greci. But it is beginning to be understood that pure and simple English is able to convey all that is worth knowing about a statue or a picture; and such subjects, in proportion as they have lost their mystery, have become popular. However, some technical terms there must be in every science; and no one can profitably pursue a discussion as to any of the various branches of the art of the painter without some acquaintance with the words used to express the processes employed. To all such persons we can warmly recommend this modest little book. --The Saturday Review of Politics, Literature, Science and Art, Volume 7
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.