A History of Art for Beginners and Students - Painting, Sculpture, Architecture - The Original Classic Edition

A Text-Book of the History of Painting written by John C. Van Dyke.  PROFESSOR OF THE HISTORY OF ART IN RUTGERS COLLEGE AND AUTHOR OF "ART FOR ART'S SAKE," "THE MEANING OF PICTURES," ETC. PUBLISHED BY LONGMANS, GREEN, AND CO. in 1909.

The Ten Books on Architecture - (FREE Audiobook Included!)

-Included TOC for Reader.

-Included biography the author.

-Free Audiobook link for download.

This is sample in ebook;

1. The first spurs of the Apennines arise from the Tuscan sea between the Alps and the most distant borders of Tuscany. The mountain range itself bends round and, almost touching the shores of the Adriatic in the middle of the curve, completes its circuit by extending to the strait on the other shore. Hence, this side of the curve, sloping towards the districts of Tuscany and Campania, lies basking in the sun, being constantly exposed to the full force of its rays all day. But the further side, sloping towards the Upper Sea and having a northern exposure, is constantly shrouded in shadowy darkness. Hence the trees which grow on that side, being nourished by the moisture, not only themselves attain to a very large size, but their fibre too, filled full of moisture, is swollen and distended with abundance of liquid. When they lose their vitality after being felled and hewn, the fibre retains its stiffness, and the trees as they dry become hollow and frail on account of their porosity, and hence cannot last when used in buildings.

Together With Lawns, Pleasure Grounds And Parks; The Flower, Fruit And Vegetable Garden. Also, Useful And Ornamental Domestic Animals For The Country Resident,

Also, The Best Method Of Conducting Water Into Cattle Yards And Houses.

This is a high quality book of the original classic edition.

This is a freshly published edition of this culturally important work, which is now, at last, again available to you.

Enjoy this classic work. These few paragraphs distill the contents and give you a quick look inside:

Without going into any extended course of remark, we shall find ample reason for the indifference which has prevailed among our rural population, on the subject of their own domestic architecture, in the absence of familiar and practical works on the subject, by such as have given any considerable degree of thought to it; and, what little thought has been devoted to this branch of building, has been incidentally rather than directly thrown off by those professionally engaged in the finer architectural studies appertaining to luxury and taste, instead of the every-day wants of a strictly agricultural population, and, of consequence, understanding but imperfectly the wants and conveniences of the farm house in its connection with the every-day labors and necessities of farm life.

...The lover of country life who looks upon rural objects in the true spirit, and, for the first time surveys the cultivated portions of the United States, will be struck with the incongruous appearance and style of our farm houses and their contiguous buildings; and, although, on examination, he will find many, that in their interior accommodation, and perhaps relative arrangement to each other, are tolerably suited to the business and convenience of the husbandman, still, the feeling will prevail that there is an absence of method, congruity, and correct taste in the architectural structure of his buildings generally, by the American farmer.

CONTENTS

CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
CHAPTER XIII
CHAPTER XIV
CHAPTER XV
CHAPTER XVI
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX
CHAPTER XX
CHAPTER XXI
CHAPTER XXII
CHAPTER XXIII
CHAPTER XXIV
CHAPTER XXV

A History of Art for Beginners and Students ( Sculpture ) by Clara Erskine Clement. This edition contains 131 Illustrations, interactive table of contents, and beautifully formatted.

CHAPTERS INCLUDED:
CHAPTER I. Ancient Sculpture
CHAPTER II. Greek Sculpture
CHAPTER IV. Mediæval Sculpture, from the Fifth to the Fifteenth Century
CHAPTER V. Italian Sculpture in the Fifteenth Century
CHAPTER VI. Sculpture in Germany, France, England, and Spain, from 1450 to 1550
CHAPTER VII. Italian Sculpture in the Sixteenth Century—Cellini, Michael Angelo, and Others
CHAPTER VIII. European Sculpture from Michael Angelo to Canova
CHAPTER IX. Canova, Thorwaldsen, and Other Recent Sculptors

Kandinsky believed that art had a duty to be spiritual in nature, an expression of inner need, as he came to call it. He called art for arts sake a vain squandering of artistic power.

This book was both his call to artists to meet their obligation to humanity and his attempt to define and explain color and form in its relation to expressing the message of the soul.

The 1910s was surely the most exciting, radical, innovative and genuinely NEW period in the history of all the arts, writing, music, painting, cinema, dance. it was also one of the few periods when creative frenzy was escorted by critical might, and is almost as famous for its artistic collectives, its -isms, its iconoclasms and its spectacularly aggressive, wipe-the-slate-clean manifestoes as it is for any one artwork produced.

Today, however, there arent many of these manifstoes that possess more than quaint historical value. Kandinskys Concerning the Spiritual in Art is one, and probably to our own shame, speaks as loudly to us today as it did to the artists contemporaries. A cry against all that is bogus or a dead-end in art - the bourgeois-currying; the trend-following; the excessively materialistic, naturalistic or representational; art in which formal invention is not matched by emotional power - the book demands a return to spirituality in art in an age where a godless faith in science has resulted in a soulless culture.

Kandinsky is the artist who said that Art was close to religion, and his concept of painting is heavly bound up with his Russian orthodox upbringing (as well as later exposure to theosophy). One does not have to be a card-carrying mystic, however, to recognise the truth of his central argument, that the only art with the power to truly move us is that which is ruthlessly faithful to the artists inner need, not public taste or contemporary styles.

this belief led Kandinsky towards abstraction: he rejected the idea that a painter should draw what was on the surface, instead of its inherent spirit or harmony (if this led to a cul-de-sac in 20th century art, this is because Kandinskys mimics lacked his moral drive). This book is fascinating as Kandinsky, still creating recognisably (though distorted) representational works, was struggling towards the abstract geomotry for which he is now famous. It is essential for any lover of Kandinskys work, and modern art in general, with its revealing analyses of colour and form, their psychology, and the various effects they can achieve. it is a portrait of modernism from the inside, and it is goosebumping reading a gifted contemporary passing judgement on Picasso and Matisse, although time has parted company with him in his preference for Maeterlinck and Isadora Duncan.

In his demand for a total art that would unite theatre, music and painting, he looks forward to the great Ballets Russes happenings, most significantly Nijinsky/Stravinsky/Picassos The Rite of spring. Throughout, he calls for painting to achieve the non-naturalistic liberation of music.

The author's biography is included in this version.

Painted Windows Studies in Religious Personality is a popular book by Harold Begbie, an English author and journalist who published nearly 50 books and poems and contributed to periodicals. Painted Windows is one of the nonfiction best sellers in 1922. This e-book version consists of 13 parts with active table of contents for ease of reading. 

Pen Drawing An Illustrated Treatise by Charles Maginnis, Includes beautiful illustrations from the original book. Easy to use table of contents take you right to the chapter and verse you are looking for

CHAPTER I.—Style in Pen Drawing
CHAPTER II.—Materials
CHAPTER III.—Technique
CHAPTER IV.—Values
CHAPTER V.—Practical Problems
CHAPTER VI.—Architectural Drawing
CHAPTER VII.—Decorative Drawing