22gigantes.com - The object of this series of text-books is to provide concise teachable histories of art for class-room use in schools and colleges. The limited time given to the study of art in the average educational institution has not only dictated the condensed style of the volumes, but has limited their scope of matter to the general features of art history. Archæological discussions on special subjects and æsthetic theories have been avoided. The main facts of history as settled by the best authorities are given. If the reader choose to enter into particulars the bibliography cited at the head of each chapter will be found helpful. Illustrations have been introduced as sight-help to the text, and, to avoid repetition, abbreviations have been used wherever practicable. The enumeration of the principal extant works of an artist, school, or period, and where they may be found, which follows each chapter, may be serviceable not only as a summary of individual or school achievement, but for reference by travelling students in Europe.This volume on painting, the first of the series, omits mention of such work in Arabic, Indian, Chinese, and Persian art as may come properly under the head of Ornament—a[viii] subject proposed for separate treatment hereafter. In treating of individual painters it has been thought best to give a short critical estimate of the man and his rank among the painters of his time rather than the detailed facts of his life. Students who wish accounts of the lives of the painters should use Vasari, Larousse, and the Encyclopædia Britannica in connection with this text-book.Acknowledgments are made to the respective publishers of Woltmann and Woermann's History of Painting, and the fine series of art histories by Perrot and Chipiez, for permission to reproduce some few illustrations from these publications.
Best Review of A Text-book Of The History Of Painting:
Most helpful customer reviews 11 of 11 people found the following review helpful. dated By Mei This book was first published in 1894, but this edition was first published in 1909, it is now in the public domain. The author was professor of the History of Art in Rutgers College at the time he wrote this. This Kindle version has no pictures in it, there is a free e-book version available with many pictures in it on the internet (but that one needs a lot of memoryspace: 5.1 MB, without pictures just 377 kB). This edition has 277 pages/4401 locations. This book was aimed at students in highschools and colleges, it is easy to read, no prior knowledge is neccesary. This book has an active table of contents at the beginning of this book, at location 23. At the beginning of every chapter there is a list of recommended books.I do not recommend this book, it is too obsolete and there is too many information in it that is no longer believed to be correct. The two biggest problems I have with this book are:1) The incorrect information.Some of the information is just obsolete, some of it is not correct. Much more is known nowadays about art than 100 years ago. Techniques like X-ray (showing the sketches below the painting) and dendrology (science of trees, helps dating paintings on wooden panels) have given us information that was not available at the time this book was written.Just one example:At page 200/location 2585 this book says:(quote)PRINCIPAL WORKS:--Hubert van Eyck, Adoration of the Lamb (with Jan van Eyck) St. Bavon Ghent (wings at Brussels and Berlin supposed to be by Jan, the rest by Hubert);(unquote)This information is not correct (anymore):-About the altarpiece 'The Adoration of the Lamb' by Jan & Hubert van Eyck, this book says that parts of this work are in Berlin, this is no longer correct: as part of the Treaty of Versailles (1919) the parts of this painting that were in Germany were given back to Ghent in 1920. The parts that were in the 'Koninklijke Musea voor Schone Kunsten van België' in Brussels at the time of writing were also returned to Ghent in 1920.In 1934 two panels were stolen, only one of these has been recovered, the panel 'The Rightious Judges' is still missing.-Scholars are still debating which bits are painted by Jan and which bits by Hubert. Some even believe Hubert painted very little (or maybe even nothing!) of this painting.2) National characterThe second problem I have with this book is that the author believes in national characters, this book was written in a period in time when those believes were widespread, but they are no longer accepted. As a sample I copy a bit from Chapter 17 about Dutch painting (page 203/location 2624) below:(quote)THE DUTCH PEOPLE AND THEIR ART: Though Holland produced a somewhatdifferent quality of art from Flanders and Belgium, yet in manyrespects the people at the north were not very different from those atthe south of the Netherlands. They were perhaps less versatile, lessvolatile, less like the French and more like the Germans. Fond ofhomely joys and the quiet peace of town and domestic life, the Dutchwere matter-of-fact in all things, sturdy, honest, coarse at times,sufficient unto themselves, and caring little for what other peopledid. Just so with their painters. They were realistic at times togrotesqueness. Little troubled with fine poetic frenzies they paintedtheir own lives in street, town-hall, tavern, and kitchen, consciousthat it was good because true to themselves.(unquote)TABLE OF CONTENTS.LIST OF ILLUSTRATIONSGENERAL BIBLIOGRAPHYINTRODUCTIONCHAPTER I.EGYPTIAN PAINTINGCHAPTER II.CHALDÆO-ASSYRIAN, PERSIAN, PHOENICIAN, CYPRIOTE, AND ASIA MINOR PAINTINGCHAPTER III.GREEK, ETRUSCAN, AND ROMAN PAINTINGCHAPTER IV.ITALIAN PAINTING--EARLY CHRISTIAN AND MEDIÆVAL PERIOD, 200-1250CHAPTER V.ITALIAN PAINTING--GOTHIC PERIOD, 1250-1400CHAPTER VI.ITALIAN PAINTING--EARLY RENAISSANCE, 1400-1500CHAPTER VII.ITALIAN PAINTING--EARLY RENAISSANCE, 1400-1500, _Continued_CHAPTER VIII.ITALIAN PAINTING--HIGH RENAISSANCE, 1500-1600CHAPTER IX.ITALIAN PAINTING--HIGH RENAISSANCE, 1500-1600, _Continued_CHAPTER X.ITALIAN PAINTING--HIGH RENAISSANCE, 1500-1600, _Continued_CHAPTER XI.ITALIAN PAINTING--THE DECADENCE AND MODERN WORK, 1600-1894CHAPTER XII.FRENCH PAINTING--SIXTEENTH, SEVENTEENTH, AND EIGHTEENTH CENTURIESCHAPTER XIII.FRENCH PAINTING--NINETEENTH CENTURYCHAPTER XIV.FRENCH PAINTING--NINETEENTH CENTURY, _Continued_CHAPTER XV.SPANISH PAINTINGCHAPTER XVI.FLEMISH PAINTINGCHAPTER XVII.DUTCH PAINTINGCHAPTER XVIII.GERMAN PAINTINGCHAPTER XIX.BRITISH PAINTINGCHAPTER XX.AMERICAN PAINTINGPOSTSCRIPTINDEX(I am a Dutch student of Cultural Sciences, including Art History.) 3 of 3 people found the following review helpful. Taste changes By Philip Spires A Text-Book on the History of Painting by John Charles Van Dyke was published a century ago. Today it offers the modern reader not only potted, period critiques of important artists, but also a remarkable insight into how aesthetics change from generation to generation. John Charles Van Dyke's assessments of some work will surprise today's reader, especially his attitudes towards some contemporary artists who received rather hostile reactions from some quarters when their work was first exhibited.The book deals with the European tradition. It makes no excuses for this. At the time, non-European art was perhaps less well known in Western critical circles. Perhaps also, it was regarded as somehow inferior, perhaps also merely because it was not European in origin. But Van Dyke does offer us a working distinction that excludes most non-European art from his survey, that of the difference between observation and expression. Only that which aims at expression, for van Dyke at least, is worthy of the label "art". Somehow ancient Egyptian art makes it into the oeuvre, probably because it was also represented in museums that were close at hand and accessible.Two painters in particular illustrate the difference in treatment between van Dyke's age and our own, El Greco and Alma-Tadema. El Greco is hardly mentioned as a figure in sixteenth century Spain, his achievements apparently being regarded as rather localised on Toledo. Thus a figure now regarded as a unique stylist and visionary hardly figures in this text. Alma-Tadema, whose academicism and detail might today offer summary and epitome of the staid Victorian England that toyed euphemistically with the erotic is also dismissed. And one of the few English painters to be raised to the peerage, Frederick Leighton, also did not impress Professor Van Dyke. Neither, it seems, did Albrecht Durer.Central to Van Dyke's aesthetic is a judgment as to whether the painter not only represents, interprets and expresses, but also constructs a painting. Mere reality is never enough, it seems, life requiring the skill of an editor or architect to render its experience communicable. It is interesting to reflect on how much or little we still value this aspect of aesthetics in today's painting.Some of Van Dyke's observations will at least entertain. Franz Hals, we learn, lived a rather careless life. William Blake was hardly a painter at all. A Dutchman is attributed with the faint praise of being a unique painter of poultry. Matthew Maris is criticised for being a recorder of visions and dreams rather than the substantial things of earth, while Turner is dismissed as bizarre and extravagant, qualities that today might enhance rather than diminish his reputation.But Van Dyke's book remains an interesting, informative and rewarding read, despite its distance from contemporary thinking. He is especially strong in his summary descriptions of the different Italian schools of the late Gothic and Renaissance eras. It is more than useful to be reminded of how independent these city states were at the time and how little they managed to influence one another. A Text-Book on the History of Painting by John Charles Van Dyke remains, then, an essential read for anyone interested in the history of art. Much has changed, but then there is much that has not. 1 of 1 people found the following review helpful. A disappointment By michael Valente There are no pictures. It is impossible to describe a printing without seeing the painting. The index of painters with hot keys is off, pushing the hot key does not bring you to the page on the painter. See all 11 customer reviews...
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