File:A child's guide to pictures (1908) (14729774536).jpg

Identifier: childsguidetopic00caff (find matches)
Title: A child's guide to pictures
Year: 1908 (1900s)
Authors: Caffin, Charles Henry, 1854-1918
Subjects: Painting -- Study and teaching
Publisher: New York, Baker & Taylor
Contributing Library: New York Public Library
Digitizing Sponsor: MSN

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died more and morehow to represent life and its surroundings, not aswe may dream they should be, but as they areknown to our actual experience. They have becomeardent ^ realists or naturalists. Kealists,because they are occupied with what we are in thehabit of calling the realities of life.^ ^Naturalists,because they love nature and try to represent heractual appearances, as they are enveloped in andaffected by light and atmosphere. The second cause of the modern advance in ren-dering these qualities is again due to scientific dis-coveries. Scientific men have made a close study oflight and color and the painters have profited bythe results. Painting, in a measure, has joinedhands with science. However, now that we have seen why some artistsdo not put atmosphere into their pictures, and J Later on I shall have something to say about these so calledrealists. I shall say to them, as Hamlet said to Horatio, Thereare more things in Heaven and earth than are dreamt of in ourphilosophy. 192
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The Mystic Marriage of St. Catharine. Correggio. >.RART AgTC! _~_^, Color—Texture, Atmosphere, Tone that among those who do some manufacture an at-mosphere of their own, while others try to rendernatures atmosphere, let us study for ourselves theeffect of atmosphere In nature. It will help us, if Ibegin by telling what we expect to find. First then,that the outlines of objects are softened; secondly,that the bulk of things seems flattened; and thirdly,that as objects recede or stand further off from oureyes, their forms becomes more and more indistinctand their colors change. As to the first. Suppose you are standing on astreet or country road, and a wagon passes you.While it is close in front of you, the body of thewagon and the wheels and the man driving, all areclearly outlined; you can distinguish distinctly theparts of the wagon and the character of the mansfigure, whether it is fat or thin, strong or weak-looking, and so on. But, as the wagon passes alongthe road, its appea

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