Identifier: howtostudypictur1910caff (find matches)
Title: How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods
Year: 1910 (1910s)
Authors: Caffin, Charles Henry, 1854-1918
Subjects: Monet,Claude, 1840-1926 Painting Painting
Publisher: New York : The Century Co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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PUVIS DE CHAVANNES-GEROME forms are enveloped in ample draperies, flatly paintedwith little or no modeling, large expanses of rich duskycoloring, against which the heads and hands, some orna-mented borders, and forms of doves, make spots of ani-mation. But the general impression is of flatness andsimplicity, forming a background of subdued grandeurto the central group of the Crucifixion. Flatness ofpainting and simple ample masses—these qualities Sar-gent borrowed from the Byzantine artists who deco-rated with paintings and mosaics the walls of churches inthe Middle Ages. They were poor draftsmen, unskilledalso, as we have noticed earlier, in the actual craft ofpainting ; yet their designs were so impressive in theirlarge simplicity, that to this day their work, from thestandpoint of decoration, wins the admiration of artists. Flatness of painting, simple ample masses, large sim-plicity of design—as the visitor descends the great stair-case, will he notice, I wonder, that these ar

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