Painters on Painting
, by Protter, EricNote: Supplemental materials are not guaranteed with Rental or Used book purchases.
- ISBN: 9780486299419 | 0486299414
- Cover: Paperback
- Copyright: 11/2/2011
Famous artists discuss their aims, methods, techniques, other artists, and much more in unique compilation spanning 7 centuries of Western art. Michelangelo's account of painting the Sistine Chapel, Picasso's motivation for creating "Guernica," many other insights from da Vinci, Chagall, Rubens, Rembrandt, Hogarth, Manet, Degas, Cezanne, van Gogh, Matisse, and Pollock. 68 illustrations.
INTRODUCTION
GIOTTO DI BONDONE
How Giotto became the student of Cimabue
CENNINO CENNINI
Basic requirements for becoming an artist
How the art of painting should be learned
One should continually draw from nature
"What are natural colors, and how to grind black"
How to color a dead man
HUBERT VAN EYCK
JAN VAN EYCK
The discovery of painting with oil
The Ghent Altarpiece
FRA GIOVANNI ANGELICO DA FIESOLE
On his way of painting
PAOLO UCELLO
A critique with regard to falsifying nature
LEON BATTISTA ALBERTI
On colors
On the three parts that make up painting
PIERO DELLA FRANCESCA
On perspective
"Heads and capitals, bases, and other objects"
SANDRO BOTTICELLI
Conflicts with Church ideology
A period of disruption
LEONARDO DA VINCI
What painting is concerned with
The young student of painting
Of painting and its divisions / Division of the figure
Of drawing from nature / A precept for the painter
A note on anatomy
A precept on balance
A precept for avoiding a bad choice in the style of figures
A precept in painting / Advice to painters
Of backgrounds
Of verdigris
How to paint a picture that will last almost forever
In what part a color will appear in its greatest beauty
Colors in regard to light and shade
How to represent the wind
The brilliance of a landscape
How to make an imaginary animal appear natural
A precept for painters
VITTORE CARPACCIO
Ridolfi on Carpaccio's painting
HIERONYMUS BOSCH
On his method of painting
ALBRECHT DÜRER
About painting / About perspective
Some elaborations on perspective
From the Third of the Four Books on Human Proportions
Correspondence with Jacob Heller
MICHELANGELO BUONARROTI
On the painting of the Sistine Chapel
On painting / Three letters
TITIAN VECELLIO
On painting
Ridolfi on Titian
GIORGIONE (CASTELFRANCO VENETO)
Ridolfi on Giorgione
Why painting is superior to sculpture
RAPHAEL SANZIO
On his education as a painter
"HANS HOLBEIN, THE YOUNGER"
At the court of King Henry VIII
The portrait of Henry VIII
GIORGIO VASARI
On foreshortening
On coloring
Painting in tempera / Painting on canvas
JACOPO ROBUSTI TINTORETTO
On painting
Ridolfi on Tintoretto
PAOLO VERONESE
The trial of Paolo Veronese
"PETER BRUEGEL, THE ELDER"
How Bruegel went on trips among the peasants
GIONVANNI PAOLO LOMAZZO
Of the divisions of painting
EL GRECO (DOMENICO THEOTOCOPOULOS)
On his way of painting
His manner of living
FRANCISCO PACHEO
On painting
PETER PAUL RUBENS
Five letters
FRANS HALS
An analysis of his art
NICOLAS POUSSIN
From a letter to M. de Chambray
From various letters
About the limits of drawing and of color
On the idea of beauty
CARLO RIDOLFI
Two major abuses / On painters
A definition of painting
SIR ANTHONY VAN DYCK
On the use of certain colors
DIEGO VELAZQUEZ
Kitchen scenes and other scenes of home life
Life studies
CLAUDE LORRAIN
Constable on Lorrain's landscapes
REMBRANDT VAN RIJN
Letter to Huygens
Sandrart on Rembrandt
JACOB VAN RUISDAEL
Why Ruisdael is a unique landscape painter
JAN VERMEER
Acceptance into the Guild of St. Luke
His wife's petition
ANTOINE WATTEAU
Letters to M. de Julienne
WILLIAM HOGRATH
Of coloring
JEAN BAPTISTE CHARDIN
On the difficulties of becoming a painter
SIR JOSHUA REYNOLDS
On the study of painting
"The importance of "studies"
JOHN SINGLETON COPLEY
From a letter to his wife
FRANCISCO GOYA
A letter to Don Miguel Cayetano Soler
JACQUES LOUIS DAVID
Letter to Citizen Denon
WILLIAM BLAKE
An address to the public
JOSEPH MALLORD WILLIAM TURNER
On Flemish landscape painting
Letter to Mrs. Calcott
JOHN CONSTABLE
Art must change with the ages
JEAN AUGUSTE DOMINIQUE INGRES
Extracts from four letters
JEAN BAPTISTE CAMILLE COROT
The painter's reputation
I work on all parts of my painting at once
The start of a painting / Color and tones
The luminous point
Nature through the eyes of a child
EUGÈNE DELACROIX
Excerpts from The Journal
GUSTAVE COURBET
"To make art lifelike, this is my objective"
Letter to the Minister of Beaux Arts (1870)
GEORGE INNESS
On Impressionism
CAMILLE PISSARRO
Extracts from three letters
ÉDOUARD MANET
Letter to Fantin-Latour
From the memoirs of Antonin Proust (1876)
Remarks made to G. Jeanniot (1882)
HILAIRE GERMAIN EDGAR DEGAS
Remarks to three artists / Letter to Mme Dietz Monnin
JAMES ABBOTT MCNEILL WHISTLER
"The critics, the public, and the meaning of art"
WINSLOW HOMER
Extracts from an interview / Three letters
PAUL CÉZANNE
Eight letters
CLAUDE MONET
Gleyre's studio / Talk with Clemenceau
Two letters
ODILON REDON
Symbolism in painting
To deal with only the representation of things
PIERRE AUGUSTE RENOIR
My way of painting
Visual accuracy in art
THOMAS EAKINS
Resignation from the Society of American Artists
Letter to a student
HENRI ROUSSEAU
Letter to André Dupont
ALBERT PINKHAM RYDER
I saw nature springing into life upon my dead canvas
PAUL GAUGUIN
Eight letters
FERDINAND HODLER
The mission of the artist
VINCENT VAN GOGH
Two letters
GEORGES SEURAT
From a letter to Beaubourg explaining his theory
JAMES ENSOR
Reflections on art
EDVARD MUNCH
The Frieze of Death
HENRI DE TOULOUSE-LAUTREC
Two letters
ROBERT HENRI
Persons and things are whatever we imagine them to be
WASSILY KANDINSKY
Concerning the spiritual in art
The artist and the work of art
PIERRE BONNARD
Extracts from two letters / The primary conception
EMIL NOLDE
Reflections
ÉDOUARD VUILLARD
Letter to Maurice Denis
HENRI MATISSE
About my painting
JOHN MARIN
The artist and the public
LYONEL FEININGER
Extracts from five letters
GEORGES ROUAULT
I have respected a certain internal order
On Poussin
The painting is a mute witness / On painting
PIET MONDRIAN
Plastic art and pure plastic art
JACQUES VILLON
Reflections on painting
KASIMIR MALEVICH
Suprematism
PAUL KLEE
The artist must proceed from type to prototype
HANS HOFMANN
I condemn dogmatism and categorization
FRANZ MARC
Art is metaphysical
FERNAND LÉGER
Not to lose touch with reality
Abstract art is true purism
PABLO PICASSO
About painting
A struggle against reaction / About Guernica
GEORGE BELLOWS
What is good drawing?
Of what importance is art to society?
How does subject matter relate to art?
UMBERTO BOCCIONI
Extracts from the Second Futurist Manifesto
GEORGES BRAQUE
Aphorisms
In painting there must be no preconceived idea
MAX BECKMANN
On my painting
AMADEO MODIGLIANI
Painting Lipchitz / Letter to Zborowski
OSKAR KOKOSCHKA
Extract from a letter to Profe
Self-portrait of a degenerate artist
MARC CHAGALL
On my painting
The symbols in my painting
JUAN GRIS
On the possibilities of painting
KURT SCHWITTERS
Hard times
MARCEL DUCHAMP
Art is a drug
GIORGIO DE CHIRICO
The painting of the future
NAUM GABO
On Constructive Realism
MARK TOBEY
Today America must look toward Asia
EDWIN DICKINSON
On my way of painting
GEORGE GROSZ
The world of reality and the inner vision
CHARLES BURCHFIELD
The barren road of decoration
An artist does not try to bypass nature
JOAN MIRÓ
The state of painting today
STUART DAVIS
"I always thought a painting was a "Figure"
CHAIM SOUTINE
Letter to Zborwski
DAVID ALFARO SIQUEIROS
On art without an ideological function
On the profound sentiment of the professional
On the significance of modern Mexican painting
JEAN DUBUFFET
On my painting
PHILIP EVERGOOD
The finished product should be invigorating
Realism will never be outmoded
ROBERT GWATHMEY
Beauty comes from structural coherence
MARK ROTHKO
The Romantics were prompted
On shapes
SALVADOR DALI
The paranoiac critical method
Definition of surrealism
WILLIAM DE KOONING
There is no style of painting now
Sometimes I go through periods of real despair
ARSHILE GORKY
Painting the airport mural
CLYFFORD STILL
A statement
PETER BLUME
Telling stories is a primary function of the plastic arts
BALTHUS (BALTHUS KLOSSOWSKI)
Reflections on painting
FRANCIS BACON
On painting / About abstract art
FRANZ KLINE
On my work in black and white
Does the painter's emotion come across?
Free association from the start to the finished state
Calligraphy
JACKSON POLLOCK
How I paint
AD REINHARDT
Ingredients for a painting
EDWARD DUGMORE
On painting
ROBERT MOTHERWELL
A painting must make human contact
JACK LEVINE
Distortion and Expressionism are not the same thing
ANDREW WYETH
To escape from the medium with which I work
ALAN DAVIE
Paintings without subject or form
Painting and Zen archery
KAREL APPEL
On painting
BURT HASEN
Multiple images
JOHN HULTBERG
A way to create my own earth
ROY LICHTENSTEIN
What is pop art?
Is pop art despicable?
Are you anti-experimental?
PAUL GEORGES
To fill a void
HERBERT KATZMAN
On painting
"Art experts, academics, art philosophers"
ROBERT RAUSCHENBERG
Because I want to
GEORGE RHOADS
I have to work with joy
On criticism
"On "fashionable" art"
NATHAN OLIVEIRA
The human figure
ROBERT D'ARISTA
Reflections on painting
JASPER JOHNS
Random thoughts
Three ideas
BIBLIOGRAPHY
ACKNOWLEDGMENTS
INDEX
GIOTTO DI BONDONE
How Giotto became the student of Cimabue
CENNINO CENNINI
Basic requirements for becoming an artist
How the art of painting should be learned
One should continually draw from nature
"What are natural colors, and how to grind black"
How to color a dead man
HUBERT VAN EYCK
JAN VAN EYCK
The discovery of painting with oil
The Ghent Altarpiece
FRA GIOVANNI ANGELICO DA FIESOLE
On his way of painting
PAOLO UCELLO
A critique with regard to falsifying nature
LEON BATTISTA ALBERTI
On colors
On the three parts that make up painting
PIERO DELLA FRANCESCA
On perspective
"Heads and capitals, bases, and other objects"
SANDRO BOTTICELLI
Conflicts with Church ideology
A period of disruption
LEONARDO DA VINCI
What painting is concerned with
The young student of painting
Of painting and its divisions / Division of the figure
Of drawing from nature / A precept for the painter
A note on anatomy
A precept on balance
A precept for avoiding a bad choice in the style of figures
A precept in painting / Advice to painters
Of backgrounds
Of verdigris
How to paint a picture that will last almost forever
In what part a color will appear in its greatest beauty
Colors in regard to light and shade
How to represent the wind
The brilliance of a landscape
How to make an imaginary animal appear natural
A precept for painters
VITTORE CARPACCIO
Ridolfi on Carpaccio's painting
HIERONYMUS BOSCH
On his method of painting
ALBRECHT DÜRER
About painting / About perspective
Some elaborations on perspective
From the Third of the Four Books on Human Proportions
Correspondence with Jacob Heller
MICHELANGELO BUONARROTI
On the painting of the Sistine Chapel
On painting / Three letters
TITIAN VECELLIO
On painting
Ridolfi on Titian
GIORGIONE (CASTELFRANCO VENETO)
Ridolfi on Giorgione
Why painting is superior to sculpture
RAPHAEL SANZIO
On his education as a painter
"HANS HOLBEIN, THE YOUNGER"
At the court of King Henry VIII
The portrait of Henry VIII
GIORGIO VASARI
On foreshortening
On coloring
Painting in tempera / Painting on canvas
JACOPO ROBUSTI TINTORETTO
On painting
Ridolfi on Tintoretto
PAOLO VERONESE
The trial of Paolo Veronese
"PETER BRUEGEL, THE ELDER"
How Bruegel went on trips among the peasants
GIONVANNI PAOLO LOMAZZO
Of the divisions of painting
EL GRECO (DOMENICO THEOTOCOPOULOS)
On his way of painting
His manner of living
FRANCISCO PACHEO
On painting
PETER PAUL RUBENS
Five letters
FRANS HALS
An analysis of his art
NICOLAS POUSSIN
From a letter to M. de Chambray
From various letters
About the limits of drawing and of color
On the idea of beauty
CARLO RIDOLFI
Two major abuses / On painters
A definition of painting
SIR ANTHONY VAN DYCK
On the use of certain colors
DIEGO VELAZQUEZ
Kitchen scenes and other scenes of home life
Life studies
CLAUDE LORRAIN
Constable on Lorrain's landscapes
REMBRANDT VAN RIJN
Letter to Huygens
Sandrart on Rembrandt
JACOB VAN RUISDAEL
Why Ruisdael is a unique landscape painter
JAN VERMEER
Acceptance into the Guild of St. Luke
His wife's petition
ANTOINE WATTEAU
Letters to M. de Julienne
WILLIAM HOGRATH
Of coloring
JEAN BAPTISTE CHARDIN
On the difficulties of becoming a painter
SIR JOSHUA REYNOLDS
On the study of painting
"The importance of "studies"
JOHN SINGLETON COPLEY
From a letter to his wife
FRANCISCO GOYA
A letter to Don Miguel Cayetano Soler
JACQUES LOUIS DAVID
Letter to Citizen Denon
WILLIAM BLAKE
An address to the public
JOSEPH MALLORD WILLIAM TURNER
On Flemish landscape painting
Letter to Mrs. Calcott
JOHN CONSTABLE
Art must change with the ages
JEAN AUGUSTE DOMINIQUE INGRES
Extracts from four letters
JEAN BAPTISTE CAMILLE COROT
The painter's reputation
I work on all parts of my painting at once
The start of a painting / Color and tones
The luminous point
Nature through the eyes of a child
EUGÈNE DELACROIX
Excerpts from The Journal
GUSTAVE COURBET
"To make art lifelike, this is my objective"
Letter to the Minister of Beaux Arts (1870)
GEORGE INNESS
On Impressionism
CAMILLE PISSARRO
Extracts from three letters
ÉDOUARD MANET
Letter to Fantin-Latour
From the memoirs of Antonin Proust (1876)
Remarks made to G. Jeanniot (1882)
HILAIRE GERMAIN EDGAR DEGAS
Remarks to three artists / Letter to Mme Dietz Monnin
JAMES ABBOTT MCNEILL WHISTLER
"The critics, the public, and the meaning of art"
WINSLOW HOMER
Extracts from an interview / Three letters
PAUL CÉZANNE
Eight letters
CLAUDE MONET
Gleyre's studio / Talk with Clemenceau
Two letters
ODILON REDON
Symbolism in painting
To deal with only the representation of things
PIERRE AUGUSTE RENOIR
My way of painting
Visual accuracy in art
THOMAS EAKINS
Resignation from the Society of American Artists
Letter to a student
HENRI ROUSSEAU
Letter to André Dupont
ALBERT PINKHAM RYDER
I saw nature springing into life upon my dead canvas
PAUL GAUGUIN
Eight letters
FERDINAND HODLER
The mission of the artist
VINCENT VAN GOGH
Two letters
GEORGES SEURAT
From a letter to Beaubourg explaining his theory
JAMES ENSOR
Reflections on art
EDVARD MUNCH
The Frieze of Death
HENRI DE TOULOUSE-LAUTREC
Two letters
ROBERT HENRI
Persons and things are whatever we imagine them to be
WASSILY KANDINSKY
Concerning the spiritual in art
The artist and the work of art
PIERRE BONNARD
Extracts from two letters / The primary conception
EMIL NOLDE
Reflections
ÉDOUARD VUILLARD
Letter to Maurice Denis
HENRI MATISSE
About my painting
JOHN MARIN
The artist and the public
LYONEL FEININGER
Extracts from five letters
GEORGES ROUAULT
I have respected a certain internal order
On Poussin
The painting is a mute witness / On painting
PIET MONDRIAN
Plastic art and pure plastic art
JACQUES VILLON
Reflections on painting
KASIMIR MALEVICH
Suprematism
PAUL KLEE
The artist must proceed from type to prototype
HANS HOFMANN
I condemn dogmatism and categorization
FRANZ MARC
Art is metaphysical
FERNAND LÉGER
Not to lose touch with reality
Abstract art is true purism
PABLO PICASSO
About painting
A struggle against reaction / About Guernica
GEORGE BELLOWS
What is good drawing?
Of what importance is art to society?
How does subject matter relate to art?
UMBERTO BOCCIONI
Extracts from the Second Futurist Manifesto
GEORGES BRAQUE
Aphorisms
In painting there must be no preconceived idea
MAX BECKMANN
On my painting
AMADEO MODIGLIANI
Painting Lipchitz / Letter to Zborowski
OSKAR KOKOSCHKA
Extract from a letter to Profe
Self-portrait of a degenerate artist
MARC CHAGALL
On my painting
The symbols in my painting
JUAN GRIS
On the possibilities of painting
KURT SCHWITTERS
Hard times
MARCEL DUCHAMP
Art is a drug
GIORGIO DE CHIRICO
The painting of the future
NAUM GABO
On Constructive Realism
MARK TOBEY
Today America must look toward Asia
EDWIN DICKINSON
On my way of painting
GEORGE GROSZ
The world of reality and the inner vision
CHARLES BURCHFIELD
The barren road of decoration
An artist does not try to bypass nature
JOAN MIRÓ
The state of painting today
STUART DAVIS
"I always thought a painting was a "Figure"
CHAIM SOUTINE
Letter to Zborwski
DAVID ALFARO SIQUEIROS
On art without an ideological function
On the profound sentiment of the professional
On the significance of modern Mexican painting
JEAN DUBUFFET
On my painting
PHILIP EVERGOOD
The finished product should be invigorating
Realism will never be outmoded
ROBERT GWATHMEY
Beauty comes from structural coherence
MARK ROTHKO
The Romantics were prompted
On shapes
SALVADOR DALI
The paranoiac critical method
Definition of surrealism
WILLIAM DE KOONING
There is no style of painting now
Sometimes I go through periods of real despair
ARSHILE GORKY
Painting the airport mural
CLYFFORD STILL
A statement
PETER BLUME
Telling stories is a primary function of the plastic arts
BALTHUS (BALTHUS KLOSSOWSKI)
Reflections on painting
FRANCIS BACON
On painting / About abstract art
FRANZ KLINE
On my work in black and white
Does the painter's emotion come across?
Free association from the start to the finished state
Calligraphy
JACKSON POLLOCK
How I paint
AD REINHARDT
Ingredients for a painting
EDWARD DUGMORE
On painting
ROBERT MOTHERWELL
A painting must make human contact
JACK LEVINE
Distortion and Expressionism are not the same thing
ANDREW WYETH
To escape from the medium with which I work
ALAN DAVIE
Paintings without subject or form
Painting and Zen archery
KAREL APPEL
On painting
BURT HASEN
Multiple images
JOHN HULTBERG
A way to create my own earth
ROY LICHTENSTEIN
What is pop art?
Is pop art despicable?
Are you anti-experimental?
PAUL GEORGES
To fill a void
HERBERT KATZMAN
On painting
"Art experts, academics, art philosophers"
ROBERT RAUSCHENBERG
Because I want to
GEORGE RHOADS
I have to work with joy
On criticism
"On "fashionable" art"
NATHAN OLIVEIRA
The human figure
ROBERT D'ARISTA
Reflections on painting
JASPER JOHNS
Random thoughts
Three ideas
BIBLIOGRAPHY
ACKNOWLEDGMENTS
INDEX
What is included with this book?
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.