Beauty of the Beast by John Bascom

By John Bascom

All through time, artists have maintained a detailed courting with the animal international, which has proved to be an inexhaustible resource of idea. First, they got suggestion at once from their atmosphere. subsequent, animals have been utilized in paintings for his or her prestige as family acquaintances, symbols of an intimate and familial existence, held in quite excessive esteem through the Renaissance. Later, in Orientalism, animal paintings the invention of unique fauna which appealed to modern artists. The animal and its wild good looks are depicted the following via artistic endeavors from Albrecht Dürer, Pieter Bruegel, Leonardo da Vinci, Katsushika Hokusai, Henri Rousseau, and Paul Klee.

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Cervus elaphus Giuseppe Arcimboldo Second half of 16th century. Watercolour on parchment Österreichische Nationalbibliothek, Vienna 58 59 That which reveals its own nature is to be preferred to that whose success is dependent on a suggestion of something better than itself. Imitation should be turned aside from entire resemblance, and those features which mark the nature of the material be suffered, nay, made to appear freely. Iron-work will ever show itself to be iron, unless most assiduously disguised.

Senses and faculties directly conversant with qualities the same for all, are these postulates. All simple and primary notions and attributes are directly known through these faculties, and the language which expresses them is only explicable to those who have the key, the chart, of kindred faculties. The term beauty is susceptible, then, of no definition, and the quality beauty of no further knowledge and explanation than that which the very power by which we perceive, feel, and know it is able to give.

A casting will naturally distinguish itself from a carving, and this it should ever be suffered to do. Still Life with Birds Lucas Cranach, c. 3 cm Staatliche Kunstsammlung, Kupferstichkabinett, Dresden 60 61 The parts of the design must always be heavier and better sustained in stone, than when wrought in the tenacious fibres of iron. The inherent strength of the one material tends to a lightness of pattern quite impossible with the other. The more markedly every material possesses and wears its own characteristics, the better is it, and there is no so sure way of destroying both the higher and the lower, as a constant effort on the part of the one to assume the forms and draw to itself the attention which can only properly belong to the other.

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