Publications of The University of Texas Publications Committees: GENERAL: FREDERIC DUNCALF A. SCHAFFER J. L. HENDERSON C. H. SLOVER J. T. PATTERSON G. W. STUMBERG F. A. PERRY A. P. WINSTON OFFICIAL: E. J. MATHEWS L. L. CLICK C. F. ARROWOOD C. D. SIMMONS E. C. H. BANTEL B. SMITH The University publishes bulletins four times a month, so numbered that the first two digits of the number show the year of issue and the last two the position in the yearly series. (For example, No. 3301 is the first bulletin of the year 1933.) These bulletins comprise the official publica­tions of the University, publications on humanistic and scientific subjects, and bulletins issued from time to time by various divisions of the University. The following bureaus and divisions distribute bulletins issued by them; communications concerning bulletins in these fields should be addressed to The University of Texas, Austin, Texas, care of the bureau or division issuing the bulletin: Bureau of Business Research, Bureau of Economic Geology, Bureau of Engineering Research, Interscholastic League Bureau, and Division of Extension. Communications concerning all other publications of the University· should be addressed to University Publications, The University of Texas, Austin. Additional copies of this publication may be procured from the Interscholastic League Bureau, The University of Texas, Austin, Texas, at 15 cents per copy; In lots of ten or more, 10 cents per copy. THE UNIVERSITY OF TEXA~ PftiSS Oii~ THE UNIVERSITY OF TEXAS BULLETIN No. 3336: September 22, 1933 FIFTY STUDIES FOR ELEMENTARY ART APPRECIATION By FLORENCE LOWE lateracbolaatic Leasue Bureau DiYiaioa of Extension PUllLl8HICD aY THIC UNIY...ITY l'OUR TIMU A MONTH AND ICNTICRSD A8 8SC:OND-CLAU MATTSR AT THIC POSTOPl'ICIC AT AU8TIN, TICXA8, UNDICR THIC ACT OP AUGU9T a4, 191& The benefits of education and of uaeful knowledre, renerally diffuaed throurh a community, are eNential to the preaervation of a free rovern· ment. Sam Houaton Cultivated mind ia the ruardian reniua of Democracy,and while guided and controlled by virtue, the nobleat attribute of man. It ia theonly dictator that freemen acknowledre, and the only aecurity which freemen deaire. Mirabeau B. Lamar INDEX TO PICTURES Title Page After a Summer Shower.................................................................... 9 Angel Heads ...................................................................................... Angel Playing Viol . ·····-···········-················· ····· ···················· ············· 10 Avenue of Trees................................................................................ 11 Battersea Bridge ................................................................................ 13 Children of Charles!........................................................................... 14 Children of the Shell.......................................................................... 16 Concert ···························--· -············ -·····································-·········· 16 Consuelo ··························-··-··-·········--·-··--···--···························--···-···· 17 Creation ·······························-····-····-······--·······-····-············· ···· ············-· 19 Deer in Forest .................... ·-··-··-············--··-···························--······-·· Dutch Interior ··················--·-·--········-··-·······-····· _ ...... .............. ........ 21 End of Day........................ _ .... --······························-·············· ........ 22 Feeding Her Birds............................................ ................................ 23 Fog Warning, The.............. --········· ···············-···································· 26 Holiday, The ··················-·-·-·····-· -· ········ -·····-·· ···································· 26 Holy Night .............................. ............................. ............................... 27 Hosea ······························-······-····· ··-·· ---····-······················· ····· ............ 28 Jockey, The ··························--·······················-·········· ........................ 2~ John the Baptist ...... ... . .. .. .... ...... ...................................... .... Last Supper, The ............ .............:.................................................... 30 Laughing Cavalier ....... -··············-····· ······················--··················-····· 32 Madonna and Angels.. ...... ···-····--····· ··················--·························· 33 Madonna Enthroned ... --····-·····-········-·-··············· ···················--····· 34 Magniftcat, The ············-···-·-··· ··-··········-·····-····-·-·············--·············· 36 Monarch of the Glen........................................................................ 37 Old Temeraire ················--···-·········· ·-··········· -······································ 38 Paris Boulevards ········ ················-·················-·······--···························· 39 Poplars ·······························-·······-· ·······--··············· ···············--···· ......... Primary School in Brittany.............................. .................................. 41 Prince Balthazar ....... .. ..... ..... ... ...... ... ..... .. ..... .. .. ... ................. ........... 42 Protest, The················-·---·····-······················-····-······················· ········· 43 Saint Francis Preaching to the Birds...................................... ... ..... 44 Saint Genevieve ········-···-·-········-··········---·······-·············· ······-·············· 45 Sistine Madonna .................................. -··············· ·················· ........ 47 Spring ······················· ······ ····-·····--------·----·---·············-·························· 48 Sunflowers ···················-····--···--··········--··-··-···-····································· 49 Village Road ··············-······-······ ·--············ ··········-·················· ............ Washerwoman, The······· ····························--····· ························- ········ 51 Young Girl Peeling Apples...... .......... ............................................... 52 INDEX TO ARCHITECTURE AND SCULPTURE Title Page Abraham Lincoln ························--···········-·········-············-·········-······· 53 Black Hawk ····-·--···-·-········-··················-----···-···· ···························· ······ 54 Bronze Doors ···········-····-·-··························--······--····························· 55 Campanile of Florence ·······················--················· ···························· 57 Cologne Cathedral ............................................................................ 58 Joan of Arc ····················--·············································-···················· 58 Lincoln Memorial ·····-··············· ··················-··-··································· 59 Moses ··········-······················--································ ·-····························· 60 Mount Vernon .................................................................................... 60 Tower of Pisa, The.............................................................................. 61 INDEX TO ARTISTS Name Page Adan, Emile ...... ... .. . ..... ....... ..... .. . . .. . ....... .... ........ ....... ... . ......... ......... .. 23 Angelico, Fra (Fra Giovanni da Fiesole) ...................................... 34 Bonheur, Rosa .................................................................................... 20 Botticelli, Allessandro Filipepi... ....................................... ............. 37 Carpaccio, Vittore ..... ......................................................................... 11 Cezanne, Paul ............................... ·······················-·············--·····-········ 50 Chapu, Henri ............... .... .......... .. ....................................................... 59 Chavannes, Puvis di .......................................................................... 46 Cimabue, Giovanni ............................................................................ 35 Corot, Jean Baptiste Camille ............................................................ 48 Correggio, Antonio Allegri da.......... ...... ............................................ 28 Da Vinci, Leonardo ............................................................................ 31 Dallin, Cyrus E ................................................................................... 44 Daumier, Honore ····································----········································ 51 De Hooch, Pieter ................................................................................ 22 Degas, Edgar Hilaire Germain .......................................................... 29 Del Sarto, Andrea .............................................................................. 30 Geoffroy, Jean ················································································----42 Ghiberti, Lorenzo ...... ...... ........... .. .. .. ..... ........... .. ............................... 56 Giotto di Bondone ··············································----···························· 45 Hals, Frans ... ... ........... .. ..... . ......... ... . ............ ... . ......... ............... .... ...... 32 Hobbema, Meindert ............... ... ··········································-··-····--···· 12 Homer, Winslow ................................................................................ 25 Inness, George .. .... ...... ...... ... . . . . .. . . . . .. .. ........ . . .... ... .. . . .......... .. ................ 9 Landseer, Sir Edward........................................................................ 37 Maes, Nicolas ...................................................................................... 52 Michaelangelo, Buonarotti ...... ······································----··········-····· 19 Millet, Jean Francois .......................................................................... 24 Monet, Claude ····························································-········-··-·······----41 Murillo, Bartolome Esteban.............................................................. 16 Potthast, Edward Henry................................................ -----··············· 27 Raphael Sanzio .................................................................................. 47 Renoir, Auguste ................................................................................ 40 Reynolds, Sir Joshua .......................................................................... 10 Saint-Gaudens, Auguste .................................................................... 53 Sargent, John Singer.......................................................................... 29 Taft, Lorado ·····················································--·····················--········ 55 Terborch, Gerard . . ...................... ........ ..... ................. .. ... . ............. ..... 1 7 Turner, Joseph Mallard William ........................................................ 39 Van Dyke, Sir Anthony ................................................................... 15 Van Gogh, Vincent............................................................................ 49 Velasquez, Diego .............................................................................. 43 Whistler, James Abbott McNeil!... ..................................................... 14 Zuloaga, Ignazio ................................................................................ 18 FOREWORD The purpose of this contest is to furnish the teacher of any fifth grade a device for securing the interest of her pupils in pictures which the general opinion of mankind has placed in a class "above the ordinary" of the productions of European and American artists. For several years a simple recognition test was deemed sufficient to arouse interest and study, but it was found that the mere identifica­tion of fifty selections and their respective artists and their nationalities was too easy. So many 100 per cent papers were produced in county meets that the competitive stmiulus seemed too much diluted. To amend this defect, the League experimented during the 1932-33 school year with a test which required a little deeper study. So-called "unfamiliar pictures" were circu­lated to county meets, and the contestants were asked to make a rough classification of the pictures, and apply cer­tain other information which they had been taught in the preparation for the "memory" part of the contest. This worked very well, except that the test was made too difficult and certain portions of it were too indefinite. This part of the contest has, therefore, been somewhat simplified and, it is hoped, made definite and hence more susceptible of accu­rate and objective scoring. This bulletin has been prepared by Miss Florence Lowe, Head of the Art Department of the Sam Houston State Teachers' College, with a view not only to teaching children to identify the fifty selections, but also to furnishing teachers a guide for inculcation of certain principles of art which are not beyond the comprehension of the average fifth grade child. By using this bulletin and the "test service" which the League is this year providing, it is believed that any fifth grade teacher may prepare her pupils not only for the recognition test, but for the test on "unfamiliar pictures." The "test service" mentioned above consists of practice tests on "unfamiliar pictures." Sets of pictures not included in the memory list are offered with keys for grading the same. To cover the cost of the pictures, mailing, postage, etc., a charge of $1 for this· service is made. Details of this service are set forth in the current Constitution and Rules. Roy BEDICHEK, Chief, The Interscholastic League Bureau, Extension Division, The University of Texas. SUGGESTIONS TO TEACHERS The primary purpose of picture study is to develop the child's capacity for appreciation. Therefore, emphasis upon elements which make the picture beautiful is of utmost value. Lead the child to consider, in addition to the things he sees for himself, the reason for certain arrangements. Help him to find the lines which repeat and the lines which oppose each other. Try to discover the various devices for calling attention to the main interest. Discuss the type of composition. Is it fundamentally circular, angular, or verti­cal and horizontal? These technicalities should not be stressed to the exclusion of the child's spontaneous expres­sion of enthusiasm for the picture, but their consideration will increase his power of judgment. It is not necessary to classify every picture under all points in the test on unfamiliar pictures. Many of them do not fall definitely into specific grouping but partake of more than one characteristic under each heading. In preparation for the test the grouping of some of the pictures should be attempted in order to give practice in recognition of the elements of painting. Try to find instances of the same art principle <>r Elementary Art Appreciation 25 charming peasant people against nature's own background did not look beautiful to them. Gradually his pictures became appreciated and he sold many of them for good prices. FOG WARNING Homer 1836-1910 American This picture shows that the artist who painted it knew much about the sea. He has shown us a fisherman who has been out in his small boat and is now returning to the ship. He is called back by the fog warning which has just been sounded. He can see the fog bank approaching and hurries to the ship before the air becomes too misty for him to find his way. Notice the long arms reaching out from the fog-bank. They repeat the angle of the boat; and the horizontal posi­tion of the oars repeats the line of the water at the horizon. The way in which the fish's tail is placed helps to point attention to the fishing vessel in the distance. This picture hangs in the Metropolitan Museum in New York City. Winslow Homer.-His pictures of the sea brought Winslow Homer his reputation as a painter. The sea was his friend as it had been his people's before him. His family were all sea-faring folk. When still a boy he showed great interest and skill in drawing. His father was pleased with this ability and encouraged him to study art. For some time he worked as an illustrator of magazines but when he found that his paintings of the sea attracted more attention than any others of his, he decided to paint more of such pictures. In order to study the sea in all its different moods, he built himself a little cabin on the rocky coast of Maine. Here he spent his time painting pictures of the sea and of the sturdy people who made their living from it. The University of Texas Bulletin THE HOLIDAY Potthast 1857-1927 American How should you like to step right into this picture and do the same thing that these children are doing? The sun­light looks bright and everyone appears to be having a good time. Light colors have been used to give the feeling of the out-of-doors. Colors always look lighter when the sun is shining. See how many different colors you can find in the water. The paint is put on in small spots in order to make the water look as if it moves. The reflections of the children show that the water is very clear. The green of the boy's shirt balances the green bathing dress of the lady in the distance on the left hand side. The bright red ball in the water is also needed to balance the red in the left hand side of the picture. Most of the red is soft in tone. Otherwise it would attract too much attention. The very bright red has been kept for the tiny spots such as the ball and the little bathing cap seen just above a wave in the distance. Follow the line of the shore beginning at the bottom of the picture. Leave out all details and make it as straight as you can until it reaches the point where it turns just below the little girl in the red suit. Now follow it to the right, continuing on back of the child in white. When you reach the child who is wearing the large sailor collar, follow the vertical direction to the top of the head. Now draw on another piece of paper the line you followed. You should have an angle to the left, then to the right and finally a short perpendicular line. These lines help the eye to travel into the picture so that when an artist wishes to show great distance, he tries to use lines of this type. We call this arrangement "·angular composition." The perpendicular line stops the eye so that it will not travel too far. The color, light and movement are the most interesting things in this picture. It is a good example of impressionism. Compare it with "Paris Boulevards" by Renoir. Edward Henry Potthaat.-This artist of childhood and of the sea was born in Cincinnati, Ohio. The family of father, mother, and two boys were in modest circumstances. Edward enjoyed drawing and painting while his brother was gifted in singing. Edward started his art training at the McMichen School of Design in Cincinnati. Later he went to Munich, Germany, to study art, then to Paris and to Holland. After gaining considerable reputation as a painter in Paris, he returned to America in 1900 where he continued to paint and to illustrate for magazines. Most of his painting was done at Provincetown. Potthast spent much of his time near the sea. During the latter part of his life he painted many pictures of the sea which are described by one writer as being "full of sunny joyousness and the spirit of childhood." HOLY NIGHT Correaaio 1494-1534 Italian At Christmas time we see "Holy Night" reproduced more often than any other picture. It is one of the world's most famous paintings of the birth of Christ. The original hangs in the Art Gallery at Dresden, Germany. The light appears to be coming from the child and shining on all those around, causing a definite contrast with the dark of the picture. The figures are in very interesting positions as if the artist tried many different arrangements before deciding upon the one he wanted. Foreshortened positions are used a great deal. (Foreshortening takes place when an object is extended toward the observer so that it looks shorter than it really is. Measure the length of the arm, from shoulder to wrist, of the figure leaning on the manger. Compare its length with that of the figure standing whose arm is not in a foreshortened position.) Compare the angels in this picture with those in Michael­angelo's "Creation.'' The University of Texas Bulletin Correggio.-Correggio was named after the town in which he was born and little is known about his life. Some writers say that he was well paid for everything he painted while others state that he remained poor all his life. Like Michaelangelo, he was fond of painting figures hovering in mid-air. These are skillfully placed in fore­shortened positions. Many artists try to do this but have difficulty in making the figures look natural. There is much dramatic action in all his pictures. Correggio was a master of chiaroscuro. That means that he was able to arrange the light and shade of his picture in a particularly pleasing way. If you wish to see this more clearly, place one of his pictures before you and look at it with half-closed eyes. This will blur everything in the pic­ture so that you cannot tell what the different objects are. You will see dark and light spots only, but they will be arranged to make a very interesting pattern. HOSEA Sargent 1856-1925 American "Hosea" is one of the figures in a frieze showing the prophets of the Old Testament. It is a mural decoration on one of the walls of the Boston Public Library. In this frieze Moses occupies the center holding one of the stone tables of the law in each hand. The rest of the prophets are grouped on either side to form this border of "frieze." Hosea is one of the most interesting of these figures. The arrangement of the simple white robe about the figure is not easy to forget. The whole figure is covered and a part of the robe overshadows the face. Since Hosea was one of the prophets who foretold great suffering for Israel, he is draped as if he would shut out everything which might disturb his thought. He seems downcast and disconsolate. You may be interested in studying the entire frieze in order to compare this figure with the others. John Singer Sargent.--Sargent was born in Florence, Italy, of American parents. The influence of this "City of Art" during his early years gave him a great desire to paint. He received his first training in drawing and painting in Florence and at the age of nineteen went to Paris to study. Sargent became a great portrait painter of notable men and women. It was said of him, "To have been painted by Sargent added distinction to the distinguished." THE JOCKEY Degaa 1834-1917 French This young horse is so alert and ready to run that the jockey can scarcely restrain him. See how he leans back in the saddle. The horse is delicately built. It is the type meant for racing and not for the pulling of heavy loads. Notice the slender legs. Another thing which makes this horse seem anxious to go is the direction of the lines. Horizontal lines always sug­gest more speed than vertical ones. The horse's body forms a horizontal line and so does the under part of the head. Even the tail is held nearly straight. Other horizontal lines are found in the jockey. The arm from wrist to elbow and also the thigh take this direction. The feet are thrust for­ward and the body is leaning back. While this action does not give actual horizontal lines, it approaches the horizontal more nearly than does any perpendicular line. What other horizontal lines do you see? The general movement of the horse is to the right while the jockey is pulling back in the opposite direction. If this were not true, the artist would have had to show the horse running. In this picture the horizon comes above the center. Artists never divide a picture exactly in half unless one part is very plain and another part very much broken so as not to look as if the division were half-way. Edgar Hilaire Germain Degaa.-Degas was born in Paris and before his death at the age of seventy-three years, he was recognized as one of the great masters of French art. Usually Degas liked to be alone. In order to keep people from annoying him, he had no telephone in his house and locked himself away from all but a few close friends. His favorite subjects were jockeys and ballet dancers. JOHN THE BAPTIST Del Sarto 1846-1531 Italian Most pictures which represent John the Baptist show him as an older man or as a small child, but here we see him as a boy with dark curly hair. He is wearing only the traditional cloak of camels hair. The rich dark brown background provides a suitable contrast for the bright flesh tints of the figure. Andrea del Sarto.-People spoke of this artist as "The faultless Andrea del Sarto" because he drew exceedingly well ; however he never considered himself more than a craftsman. He did not try to become a great artist. His wife encouraged him to paint pictures that everyone liked because he could sell this kind easily. She was not eager for him to paint pictures that would become great works of art. Although he spent most of his life in the city of Florence where he was born, he visited for a time at the French court. His best-known paintings are "Madonna of the Harpies" and "Madonna of the Sack." Andrea del Sarto was one of the most skillful painters of his day. He arranged his compositions well, drew them beautifully and painted them with exceedingly rich colors. THE LAST SUPPER Da Vinci 1452-1519 ltaliaa Few pictures are as well known and as highly prized as "The Last Supper" which very suitably decorates what was originally the dining hall of an old monastery in Milan, Italy. The Christ is shown in the center of the table with the disciples grouped, six on either side. Apparently the artist had in mind the moment immediately following the startling statement by the Master that one of them should betray Him. The expressions on the faces of the disciples indicate this. Although the figures are arranged into separate group.13, each group is related to the others because of the position of the hands, the direction of the gaze, and areas of light on the clothing. The arrangement of the lines of the walls and ceiling also help to carry the attention to the central figure. This is considered one of the best known examples of skillful grouping of figures as well as of perfect per­spective. An interesting detail in this picture is the fact that the salt cellar next to Judas' hand has been tipped over. At that time people considered the spilling of salt a very un­lucky omen. Throughout the more than four hundred years since this picture was painted, it has narrowly escaped being de­stroyed a number of times. There is a great scar in the lower center showing where a doorway was once cut through the wall and where its top extended up into the picture. This painting was not always appreeciated as it is today. An unfortunate experiment in the mixing of the colors is responsible for the fact that the paint has gradually flaked off until only a suggestion of the picture's former grandeur remains. However, on the side wall at the left a full sized copy has been painted so as to preserve the composition after the original can no longer be seen. The figures in "The Last Supper" are more than life size. The picture is twenty-eight feet long and occupies the entire upper part of the wall at the end of the room. Leonardo Da Vinci.-The life of Leonardo Da Vinci is so interesting that whole books have been written about him. Like Michaelangelo, he was a man who was able to do many things well. His greatest talent lay in his painting but he was also engineer, architect, poet, musician, author, sculptor and scientist. Besides all this, he has the reputation of having been an excellent conversationalist and very hand­some. After having become the most popular painter of his day in Italy by the time he was thirty-two, he went to France where he became a member of the king's household. Most of his time was spent in the painting of religious pictures but he painted one portrait, the "Mona Lisa" which has caused more comment than any picture of its kind in the world. It is a portrait of a woman whose facial expres­sion shows a very mysterious smile. She is not a beautiful woman but the artist has put so much character into her face that the picture never fails to fascinate. The types of background used by Da Vinci reflect his interest in engineering. He shows winding roads and other interesting kinds of construction. LAUGHING CAVALIER Hals 1580-1666 Dutch This is one of Frans Hals' smiling portraits. The twinkle in the eye and the upturned corners of the mustache sug­gest that this is a jolly individual. The red hair and warm skin tones shine out against the black mass of the hat. The simple white mass which is the ruff also sets off the face to good advantage. The cuff has been kept in shadow because the artist did not wish to call attention to this part of the picture. Just above the cuff is a warm red-brown color which repeats the tones in the face and hair. The rendering of texture in this picture is so well done that the observer can feel the richness of the material of which the costume is made. Frans Hals.-Hals is known as the painter of smiling faces. No matter what sort of person he chose for a por­trait he wanted the face to be interesting and smiling. As might be expected, judging from his pictures, Hals was always gay and carefree. His parents were prominent people in the town of Haar­lem. It was here that Hals first became known for his portraits. His picture "Fool with Lute" is really a portrait of one of his friends named "Brouwer" whom he dressed up as a court jester. Brouwer was also an artist. "Laughing Cavalier" is one of the best known of Hals' pictures. MADONNA AND ANGELS Fra Angelico 1387-1455 Italian The Italian artists were fond of painting pictures of the Virgin seated upon a throne. In this picture the Virgin occupies the center of interest and is surrounded by angels in circular formation. See how many circles you can find in the picture. Many parts of the architecture contain sections of a circle. How rich these colors are! Italian artists used no cheap gilt paint but only pure gold-leaf which was sometimes laid over a paste-like material and later tooled to make an in­cised design. Notice the tiny stars on the halos of the angels and the Virgin. The wings of the angels appear to have been made from sections of the rainbow and their robes from the colors of the sunset. Notice the tiny flames on their heads. What do you think they mean? The plan of this picture is very definite. The artist seems to have been interested in making a design rather than in painting so~thing that would look like a photograph. The starry lining of the canopy suggests the sky at night. No matter of harmony is neglected. Even the hair color of each angel is adjusted to the color of the costume. The deep mahogany red bands back of the central figures help to emphasize the same color in the halo of the Child. While the Virgin's halo is like those of the angels its larger size makes us feel that she is more important than the other figures. The child's halo could not be made larger without its seeming more important than the child, but since it is the only halo with color our attention is easily attracted to this tiny figure which in reality is more important than any other in the composition. The central position of the Madonna, the background of the throne, the arrangement of the angels to form a cir­cular frame proclaim that this is no ordinary mother and child but a pair fit for the heavenly setting in which they are placed. Fra Angelico.-The monk Fra Angelico was the painter of angels. His real name was Fra Giovanni da Fiesole but he was called "L'Angelico," meaning "Blessed." Some say that he never took up his pencils without first engaging in prayer and that he always remained in a kneeling position the whole time he was occupied in painting the figures of Jesus and of the Virgin Mary. No other artist has equaled the brilliance and richness of color in his pictures of angels and heavenly scenes; he also knew much more about the human form than did Giotto, of whom he was a follower. MADONNA ENTHRONED Cimabue 1240-1302 Italian "Madonna Enthroned" is a good example of the way the early Italian masters liked to paint. The figures look very stiff when we compare them with pictures that we see more frequently. The Virgin does not have a pretty face, her head is too large, and the head of the Child is too small. The "grown-up" angels are not much larger than the child. After noticing all of these defects we wonder why this is a good picture. Let us study it more closely in order to see its beauty, for it does have beauty if we know what to look for. First of all, let us consider its shape. Because it was fitted into a certain place in a cathedral, it had to be made with the pointed top. It had to fit with the architecture of the building that it decorated and this stiffness makes it look as if it were doing its share along with the stone work in helping to support the building. The colors are very rich. The color which is doubtless reproduced in your print as a warm tan is solid gold in the original. The halos of the angels are all solid gold. In order to secure this gold background, a piece of solid gold was hammered until it spread out as thin as tissue paper. This thin sheet is called "gold-leaf." The gold-leaf was then laid over the surface to which an adhesive substance had been applied. The small dark designs you see on the surface of the gold are not painted on but "tooled"; that is, the gold-leaf has been laid over a paste-like &urface and the design pressed in with a tool before the paste became hard. The Virgin has been made larger than the angels to show that she is considered more important. Artists of this time did not know that the small child's head is larger in proportion to the body than that of an adult, or else they wanted it this way in order to show that this child was unusually endowed with wisdom. At any rate, the Christ Child in this picture looks like a tiny man instead of like a child as we know Him in later pictures. On a piece of paper, draw an oval to represent the Virgin. Draw a circle where the head and halo are placed. Make a small circle where you see the halo of the child ; make middle-sized circles where you see the halos of the angels. Draw in the main lines of the throne and see what an at­ tractive design this picture makes. Make every space a different color if you like. Giovanni Cimabue.-Cimabue was allowed to follow his own desires because he was the son of a noble family in Italy. He became an artist, and when only thirty years old he painted The Madonna of the Church of Santa Maria Novella (Madonna Enthroned). When he painted he allowed no one to see his work. When his painting, "The Madonna Enthroned," was dis­covered, it was so much admired that it was carried in a procession to the Church of Santa Maria Novella. As a youth he was sent by his father to Santa Maria Novella to study letters, but instead of giving his time to studying he drew pictures on books and papers. While in school he watched for hours some Greek artists who were painting the chapel. He was later placed with these masters and soon became more skillful than they in design and coloring. THE MAGNIFICAT Botticelli 1444-1510 Italian The Italian artists often painted symbols. That is, they put into their pictures those things which stood for some­thing, instead of making an illustration of an incident in the way they thought it looked when it happened. "The Magnificat" is a picture qf this kind. The Virgin is being crowned to show that she is considered a queen. She is dipping a pen into a bottle of ink to show that she is re­garded as the author of what is known as "The Magnificat" which is to be found in the Bible, Luke 1 :46-79 where Mary rejoices over the announcement that she is to be the mother of the Christ Child. The book in the picture is not the kind used at the time of Christ but it serves just as well for a symbol of a book. People who do not realize how much beauty there is in this composition think that this is not a good picture because there is a mistake in it. But the peo­ple who lived at the time this picture was painted were un­educated; and if a scroll had been used instead they might not have known that it was intended to be a book. "The Magnificat" was painted about the year 1466 for a member of the Medici family and his wife. The two angels on the left holding the book and the ink stand are portraits of their own children. The shape of this picture is unusual. Perhaps you are familiar with another picture which is round in shape called "The Madonna of the Chair" by Raphael. The latter is a familiar picture but "The Magnificat" is not so well known. The curves of the figures have been carefully planned to fit into the circular shape of the picture. Botticelli liked to paint fine detail and delicate veiling. Many parts of his canvasses have surface patterns that look like jewels set in rich velvet. Alleaaandro Filipepi Botticelli.-"An Allegory of Spring," which hangs in the Uffizi Gallery in Florence, Italy, is probably the best known of Botticelli's paintings. "Botticelli" is only a nickname given to him so early in life that everyone knew him by it. As a boy he worked for a goldsmith; then he went to the studio of Frau Filippo Lippi to study. His progress was very rapid and he painted much in both Rome and Florence. Botticelli's work can be recognized by the delicate, chiffon-like draperies and graceful lines as well as by tiny, intricate surface patterns which have a jewel-like quality. MONARCH OF THE GLEN Landaeer 1802-1893 English See this proud creature, alert in every muscle. Count the points on his antlers. Year after year he has been the leader and protector of his herd and even now holds his head high in order that his sensitive nostrils may catch scent of possible danger. "Monarch of the Glen" is a good name for this picture. There is only one important thing in the picture. That is the buck. We see mountains and a broad expanse of sky but these things are only secondary. The splendid animal is the thing the artist wants us to see. The shape of the picture has been carefully planned to accommodate the pro­portions of the buck. The antlers seem to support the top edge of the picture. Much study was necessary in order to give this picture the exact character of the animal, for the artist was inter­ested in making an accurate study of a beautiful creature. The excellence of his painting shows how well he has succeeded. Sir Edward Landseer.-The father of Landseer was an artist who did much to encourage his young son in the same kind of work. He kept all of the child's sketches, which are now on exhibit in a museum in London·. This son be­came one of the most popular of the English artists. Like the French artist, Rosa Bonheur, Landseer was a lover of animals. He kept many pets. He refused to shoot the deer in the mountains, but found many opportunities to paint pictures of them when he visited Sir Walter Scott in Scotland. Landseer's animals seem almost human. He believed that they could feel and understand like human beings. There­fore his animals appear very intelligent. His drawing was accurate and he was skillful in the arrangement of his com­position as well. Some consider him the finest animal painter of all time. OLD TEMERAIRE Turner 1775-1851 En1liah What a blaze of glory we see in this sunset I We do not wonder that Turner wished to put such beauty into per­manent form on canvas! The word "Temeraire" means "One Who Dares." That was the name of the old battleship which Turner saw being towed to the breakers yards one evening at sunset. The old ship had seen many a battle. She was captured from the French by the English, who later put her into active service. Upon her return from the battle of Trafalgar, where Napoleon was defeated in his attempt to conquer England, the old ship was received with great pride by all the people. At last when it was decided that she should be kept no longer, she was towed away to be broken up. "That would be a fine study for your brush," remarked the friend who stood with Turner and watched the old ship until it faded out of sight in the distance. Later Turner produced this beautiful painting. It is the end of day and also the end of the ship's ex­istence. The ship floats quietly upon the surface of the water. It can no longer move under its own power but must be towed by the noisy, fiery little tug. What a fuss the latt.er makes in contrast to the dignity of the noble vessel! This picture is a fine example of Turner's best impres­sionistic style. The colors are brilliant and sparkling. See how the red disk of the sun balances other brilliant spots in the picture! The dark mass which is the little tug boat is balanced with other dark areas at the lower right hand corner of the picture. Jotepb Mallard William Turner.-The first exhibit of Turner's drawings took place on the walls of his father's barber shop. Many of the drawings were sold, and the boy was kept busy making other drawings and pictures to be sold in the shop. He continued to paint and by the time he was thirty-five he was considered one of England's leading artists. He became wealthy. In spite of his wealth, he always lived quietly. His greatest interest and pleasure was in his art. Of all his paintings, "Old Temeraire" was his favorite. At the time of his death he gave this picture to the British Nation and today it hangs on the wall of one of the rooms in the National Gallery, London. PARIS BOULEVARDS Renoir 1841-1919 French Sunlight and movement are the things which impress us most in this picture of "Paris Boulevards." It is as if the artist took only a glimpse of some busy street in Paris and then set down on canvas just what he saw. All edges are blurred and indefinite but that is the way things appear in the bright sunlight. We are able to distinguish certain objects but none of them definitely. The way this picture is painted makes one wish to hurry on from one object to the next without pausing to study any of them. It is very different from the quietness of Whistler's work and that of Chavannes. Even the colors are not mixed together very much, but one is placed next to another on the canvas. When we get far enough away from this picture the colors blend together as we look at them. Yellow and green are placed beside each other in order to make yellow-green when seen at a distance. This placing of one color next to another is called "juxtaposition" and this device is used a great deal by the impressionistic painters. The effect of sunlight can be shown much better by the use of broken color than it can with solid color. There is no black in the picture. Dark blue and purple are used instead. Black would be too dull for its light, airy, gay mood. Work of this kind is usually done rapidly and with as much freedom as possible. Working over it too much dulls the colors and makes them look "muddy." Pierre Auguste Renoir.-Limoges in southern France was the birthplace of Renoir. He was the son of a poor tailor. While still a child he showed a great fondness for drawing. He worked for a manufacturer of porcelains and later took up the painting of fans and blinds in order to earn a living. He saved enough money from this work to give all of his time to painting. After Renoir painted the picture "Madame Carpentier and Her Children," he stepped from poverty into wealth. His success is due to his skillful handling of color. POPLARS Monet 1840-1926 French Compare "Poplars" with a picture by George Inness and see if you do not find some of the same qualities in both. Monet, like Inness, enjoyed painting atmosphere. These trees appear as if seen through a mist. Pictures of the impressionistic type are best when seen in full color, but there is much to enjoy in an uncolored copy as well. If your print is uncolored, try to imagine what colors would be best for the sky, the trees, the tree trunks, and the water. Try to select colors which will best express sunlight. Imagine a line drawn from tree to tree just touching the bottom of the main mass of foliage on each tree. At the left hand side of the picture let the line turn and follow the tops of the smaller foliage masses to the right hand side. Now allow the line to go to the left again with the lowest foliage masses until it reaches the ground. This is a fine example of the use of angular direction in composition. Perpendicular and horizontal lines have been used also. Can you find them? Claude Monet.-Monet was born in Paris and though he studied with a number of different teachers, he developed his own ideas of painting. He was the leader of the im­pressionists-those who put on canvas their quick "impres­sions" of the things they saw. Brilliant sparkling light and color are their chief characteristics. In attempts to capture on canvas the effect of light and air, Monet painted many times the same group of trees or other nature objects, showing how they looked to him at different seasons of the year and at different hours of the day. Pictures of the type Monet and his followers painted are most effective when seen at a distance and in subdued light. PRIMARY SCHOOL IN BRIITANY Geoffroy 1853-1925 French In some parts of Brittany, France, the little girls still dress like these we see in the picture. There are no boys in the classroom shown here because the boys go to a dif­ferent school from that which the girls attend. The teacher with the group of children around her is the center of interest. This group is painted very distinctly while the children in the back of the room as well as the maps and pictures on the wall are less definite in treatment. The contrast of white caps and collars with the dark dresses forms a pleasfog pattern of dark and light. Where do you find the largest area of white in the picture? Find the angular line formed by the bottom edge of the aprons of the two little girls in the lower left hand corner. To what figure does it lead? What other lines lead to the center of interest? The University of Te:&as Bulletin Jean Geoffroy.-Because of his very modest, retirina' nature, little is known of the life of Jean Geoffroy. He spent most of his life in the little village of Marennes in the province of Britanny where the eyes of all the inhabi­tants were forever anxiously turned toward the sea. They gained their living from fishing. Many a tragedy of the sea saddened their lives. But the children were always gay. From them Geoffroy gained most of the inspiration for his paintings. He always carried in his pockets candies and cakes for the little folks. Geoffroy's best known paintings are "Primary School in Brittany," "The Great Culprit," "The Sewing Lesson," "A Future Scholar," "Visiting Day in the Hospital," and "The Prayer of the Humble." How many of these do you know? PRINCE BALTHAZAR Velaaquez 1699-1660 Spanish This little fellow, Prince Balthazar, was the only son of King Philip II of Spain. As his father wished the child to become a great soldier and horseman, he began teaching him to ride when the boy was only three years old. No wonder that Velasquez chose to paint the prince astride his plump little pony which was a gift from the King. Notice the elaborate costume of the child and the gay trappings of the horse. Velasquez liked to paint the details of elaborate costumes, but he never made them too impor­tant. The horse's body is very much foreshortened. That is why it appears to be coming toward us. The foreshort­ening also adds to the horse's appearance of plumpness. The ground is kept dark in order to provide a solid foun­dation for the picture. The hind feet of the horse are nearly the same tone as the ground. The artist was wise to make that arrangement. Ifhe had not done so the atten­tion would have been attracted to the feet instead of being centered upon the more important parts of the picture. The trees, the mountains, and the sky which form the background are very attractive but are not sufficiently in­teresting to call attention away from the child and the horse. Dieso Veluquez.-Seville, Spain, the birthplace of Murillo, was also the birthplace of Velasquez. Unlike Murillo's parents, those of Velasquez were well-to-do and gave their son the advantage of attending the best schools and studying with the leading artists of Spain. Velasquez spent most of his life as court painter for Philip IV of Spain, a position given him while he was still young. Philip was very fond of him, and promised that only Velasquez should paint the King. King Philip IV also gave him money to study art in Italy. Some of the world's best portrait paintings are attributed to Velasquez. That of the Infanta Margarita and of other royal children are particularly charming. One portrait of the artist himself is particularly notable. The Spaniards call Velasquez the "Painter of Earth," and Murillo the "Painter of Heaven." THE PROTEST Dallin 1861-American Stubbornness is shown in every line of "The Protest." The Indian does not want the white man to trespass upon his territory and although he is powerless to stop the ad­vance of civilization, he still shows his unwillingness to yield. The horse is in a position which suggests that he is being pushed backward though he would go forward if he could. The Indian shakes his fist at the intruder. Although the statue is rather realistic in treatment, it has several decorative features. From the Indian's clenched ftst to the elbow of the left arm forms one continuous line. This makes a more powerful expression than would have been possible if the line had changed direction. The horse's tail is placed next to his body so that it becomes a part of the same mass. Had the tail stood out from the horse's body it would have attracted attention to that part of the statue instead of allowing interest to center upon the In­dian, which is the most important part. The feathers in the Indian's head-dress are arranged with so much rhythm that they suggest a design. Start at The University of Texas Bulletin the base of the first feather and let your pencil travel quickly to its top. Do this with each feather in rapid suc­cession. Count them if you like. Notice how their direc­tion changes gradually. Find the three main curves in the statue. They are formed by (1) the horse's neck, (2) the Indian's back, (3) the back part of the horse. Cyrus E. Dallin.-How should you like to have real In­dians for playmates? This was the experience of Cyrus E. Dallin, who was born and reared in a typical pioneer home in the western part of the United States. Because his par­ents were friendly with the Indians, he learned to know and love them. Near the home was a great bed of clay where the boy spent much of his time modeling. Soon he began making small statues of his Indian friends. This activity attracted the attention of some wealthy miners, who sent him to Boston to study. After that he went to Paris, where he became a friend of Rosa Bonheur, the well-known painter of animals. "The Appeal to the Great Spirit" is one of Dallin's best known sculptures. SAINT FRANCIS PREACHING TO THE BIRDS Giotto 1267-1337 Italian If you have a colored print of "Saint Francis Preaching to the Birds," you may think that it has been damaged, but that is the way the real picture looks today. Because it is very old, much of the paint has peeled off, but it still has so much beauty that people enjoy seeing it. The man who painted this picture is the same one who designed the lovely campanile of Florence, Italy. He is a great architect as well as a great painter. This picture was made at a time when people knew little about painting. We may feel that there is too much sky and that the figures are crowded too near the bottom of the picture. The figure of Saint Francis seems short when Fifty Studies for Elementary Art Appreciation 45 compared with the length of the arms, but Giotto had some­thing beautiful for us to see, so let us notice the lovely things in the picture. The body of Saint Francis leans in toward the center of the picture and the tree does the same thing on the other side. This helps to hold the attention to the center of in­terest, which is the face of Saint Francis. The artist has painted this very much in detail. It looks as delicate as a miniature. The birds are turned toward Saint Francis and this leads us to look at his face to find what is to be seen there. Giotto di Bondone.-Giotto has been called the "Father of Italian Painting." For forty years he created beautiful paintings and architecture and inspired others to do like­wise. At the time Giotto lived many new churches were being built throughout Italy. There was a great demand for artists who could decorate the interior walls of these new churches with representations of the life of Christ, the Virgin Mary, and stories of the favorite saints. Since few people could read, pictures were painted in order to help teach the doctrines of the Church. These pictures painted very simply with all figures more or less alike are called "Giottesque." Giotto's pupils and followers painted in the same manner but few of them reached the perfection of the master. Sometimes Giotto and his followers painted pictures in which the same person appeared twice in order to show two different incidents in the same story. SAINT GENEVIEVE OVERLOOKING PARIS Cbavannea 1824-1898 French "Saint Genevieve Overlooking Paris" is another lovely decorative composition with vertical and horizontal lines. It is a mural on the elaborately decorated walls of the Phan­teon in Paris. Of all the pictures there, showing the life of Saint Genevieve this is one of the most beautiful. That The University of Texas Bulletin is the reason we see copies of it more often than we see the others. When pictures are used for wall decoration they must be painted in soft colors. Otherwise we would become tired of them. They would seem to crowd the room. For this rea­son fl.at colors are better than those which are put on in a way that makes the figures seem rounded too much. How still everything seems. Brilliant colors could not possibly give this effect. Even the moon is a soft rather than a brilliant yellow. The soft red of the roofs and quiet blue of the sky seem to be whispering rather than shouting as do some colors. From top to bottom this picture is divided into five sec­tions. See if you can find the five sections. No two of them are the same size. That is why the spacing is beautiful. From left to right there are three important objects which form vertical lines. What are they? What has the artist done to make the head of Saint Genevieve seem more impor­tant than the flowers in the vase? Puvi De Chavannea.-Chavannes was born in Lyons, France, a city famous for the number of great men con­nected with it. He went to Paris at the age of twenty and worked for a short time under two other artists ; then he set out to paint in his own way. Only one person was ever allowed to watch him paint. That was Princess Marie Cantacuzine. He loved her and for over forty years she was a source of his inspiration. They were married in 1897. She lived only a short time after this and he died the next year. The mural paintings of Chavannes are among the finest the world has known. At first painting after painting of his was rejected in the salons; an unappreciative public ridiculed his work. But when he was thirty years old his first real opportunity came in the form of a commission to decorate the blank panels on the walls of his brother's house. He painted these so beautifully that people ceased to laugh and began to admire. SISTINE MADONNA Raphael 1483-1520 Italian The Sistine Madonna has been called the world's greatest painting. In the Dresden gallery this picture alone is given an entire room which visitors enter in silence. The Ma­donna is shown stepping out from heaven between curtains which have been drawn aside to let her pass. The char­acters on either side represent Pope Sixture II and Saint Barbara, both of whom were martyrs. It is believed that two little children who watched the artist at work served as models for the angels at the bottom of the picture. The soft gray clouds of the background take the form of tiny angel heads. Some prints show this clearly. The hand of Saint Sixtus is held out as if directing the Madonna's atten­tion to the world and its troubles. The figure of the child forms a compact mass with the head and shoulders of the Virgin. The general arrange­ment of the lines is circular. The draping of the curtains helps the eye to travel comfortably around the corners and serves as a frame for the figures in the composition. The two little angels are needed to balance the lower part of the picture. Raphael Sanzio.-Raphael was left an orphan when very young. A small picture of Raphael as a baby in his m,other's arms painted by Raphael's father is said to have furnished the inspiration for the great Madonna pictures by which the world knows this artist. He first studied under the great artist Perugino, who taught him to work with much detail and to use trans­parent, golden colors. This was called his "Umbrian" style of painting. Next he went to Florence, where he met many other artists who gave him new ideas about painting. He learned to paint with richer color, using less detail, and developing what is known as his "Florentine" style. In 1509 he went to Rome, where he again changed his way of working to the broad, powerful style which is so well known today. It was in Rome that de did much of his best work. The University of Texas Bulletin SPRING Corot 1776-1895 French Silvery trees and a lake at twilight-the favorite sub­jects of Corot-are seen in this picture called "Spring." Most of Corot's pictures have the same general plan of ar­rangement which consists of a large group of trees on the right hand side and one or mpre smaller trees on the left hand side. Usually these smaller trees have less foliage than the large:r ones. Compare the composition of this pic­ture with "Dance of the Nymphs." In both cases the fig­ures are arranged near the smaller trees. In the latter pic­ture a woman is reaching up to gather blossoms from the tree. Corot's figures always become a part of the land­scape rather than the landscape's serving only as a back­ground for the figures. He gave the fine old trees at the edge of the lake as much character as some painters give to their portraits. The main branches of all the trees take the same general direction. This gives them rhythm. Corot liked to sing while at work and his pictures look as if his brush strokes kept time to the music. He called his pictures his "songs." The lake and sky provide a light background for the trees, thus causing them to resemble a silhouette in respect to the arrangem~nt of dark masses. Perhaps you should like to cut some of these tree shapes out of black paper and paste them on white. See if you can make them as grace­ful as Corot's. Jean Baptiste Camille Corot.-Corot spent a quiet, peaceful life. When he was eleven, he was sent to a board­ing school. His father, a man of wealth, was desirous of having the son follow a business career. Accordingly the boy was apprenticed at the age of sixteen to a draper (cloth merchant). Although he worked for eight years with this merchant he could not become interested in selling goods. When the father realized that his son was a failure in the business world, he permitted the youth to study painting. Young Corot entered into this work wholeheartedly and became one of the world's greatest landscape artists. Early morning mists and silvery trees beside a lake at sunset were his favorite subjects. He often included figures but these were always small and less important than the landscape. The fanciful quality of his figures suggests his great love for music and poetry. Corot was nearly fifty years old before his work was appreciated. When people at last realized that he was a great painter his pictures sold rapidly. As he became wealthy he gave generously to the poor, particularly to help young, struggling artists. SUNFLOWERS VanG01h 1853-1890 Dutch The rugged beauty of sunflowers is very different from the delicate quality of violets, sweetpeas, and roses. That means that all flowers cannot be painted in the same man­ner. Recognizing this fact, Van Gogh tried to paint sun­flowers in a way that would be suitable. He noticed how strong the stems were and how solidly the parts of the flowers had grown. Therefore, using plenty of paint, he made them with vigorous, direct strokes. He even put them in a vase which would harmonize with their heaviness and painted the vase with the same kind of strokes. These are colors which "shout" and yet they do so in a beautiful way. They are harmonious though bright, and this picture is suitable for adding beauty to many a sun­porch or breakfast room. It makes one feel happy and ready for the day just to look at it. The colors are warm because they are like the color we see in sunlight and fire, both of which make us feel warm. Nothing in the picture is definite in outline. The artist seems more interested in the brilliant color than in any­thing else. The picture looks as if Van Gogh enjoyed put­ting the paint on in this way. He painted a whole flower petal with a single stroke of his brush and left the surface rough just the way nature left the sunflower. Vincent Van Gogb.-Van Gogh was the son of a clergy­man, and from earliest childhood he felt it his duty to reform the world. He became a missionary preacher and tried in many other ways to relieve the sufferings of humanity. He finally turned to art in the hope that he might find the work that he most loved. He became an apprentice to an artist and eventually surpassed his master. He was sincere in this work as he had been in everything else he attempted. This quality helped him to succeed. Van Gogh's work was not accepted by the people of his time and he finally died of a broken heart. THE VILLAGE ROAD Cezanne 1839-1906 French This picture shows a quiet village street. Most impres­sionistic pictures suggest movement but this one suggests rest and repose. The strokes of the brush can be clearly seen but the colors are soft enough and in large enough areas to prevent the vibration that we often find. The ab­sence of people or animals also adds to the quietness. Notice how the shadows of the foliage have been put on in large masses made up of small brush strokes. In some spots the strokes are up and down while in others they take an angular direction. See if you can find some of both kinds of strokes. There are two different types of trees in this picture. Can you find them? The little red house at the end of the street invites us to follow the street until we reach the turn in the road. The small red spots on the chimneys provide a means of repeat­ing some of the red on the right hand side of the picture in order that the color may be balanced. Everything in the picture becomes darker as it recedes into the distance. This helps to give us a feeling that we could walk into the picture. Other artists get the same effect by allowing things to become gradually lighter as they move away. This is one way of showing perspective. Paul Cezanne.-This French artist lived near Paris and spent much of his time in the Louvre studying pictures. Later he studied in Holland and in Belgium, finally return­ing to Paris for further study. Still-life was Cezanne's chief interest. He would spend years perfecting a single study. At one time Cezanne wrote to a patron telling him that he would have to wait another year for his picture because it could not be sent out until the result was more satisfying. THE WASHERWOMAN Daumier 1808-1879 French The "Washerwoman" in this picture looks strong and able to do the hard work which is hers. There is some­thing of the same charm about her that we always associate with Millet's pictures of peasants, but unlike Millet's, this is a picture of the city rather than of the country, as is shown by the tall buildings seen across the street. See how many curves you can find in the figures. The child has the same sturdiness as the mother. Even the bundle of clothes looks plump. While the picture suggests that the woman is poor and must do hard work, we feel that she is so capable and strong that it is not hard for her. The child is also carrying something. The figures strain forward to show that they are weighted down with heavy burdens. The mother and the child are so placed that they blend together to form one unit of the picture. At first we do not notice that they are two separate figures. The picture looks as if the artist started it by making big sweeping curves. Take your pencil and sweep around the curves the way you think the artist must have drawn them. Perhaps you will notice that these curves have rhythm just like music. Daumier, Honore.-Daumier was born in Marseilles. His father was a glazier and poet, which may account for the son's being a poet as well as artist. He studied lithography with Remelet in Paris. He has been referred to as the "French Michaelangelo." At forty-two his eyes began to fail ; about ten years later he became totally blind. Through Corot, a great artist The University of Texas Bulletin friend of his, a home was provided for him in his help­lessness. YOUNG GIRL PEELING APPLES Maes 1632-1693 Dutch This artist saw beauty in a quiet little home scene of a "young girl peeling apples." There is much warmth of color in the picture because of the rich reds and warm yellows. We have no trouble in finding the center of interest be­cause the artist has kept his brightest red for a part of the girl's costume; also the bright light reflected from another part of the room is shining on the wall just behind her. The only light colors in the picture are on or near the girl. There is just a little echo of light on the corner of the table, but all the corners and edges of the picture fade out into indefinite dark areas. Notice that you can see a rounder ellipse in the top of the pail than you can at the top of the bowl that contains the apples. That is because the pail is farther below the eye level. Take a small bowl or cup and hold it so that the top rim is exactly even with your eyes. Now gradually lower it and notice how the circle or ellipse of the top gets rounder and rounder until you find yourself looking into a complete circle. That is what the artist has painted so accurately here. The jog in the wall helps to break a space that otherwise would be too plain, and it also adds straight lines to balance the straight lines of the table. Nicolas Maes.-Maes was a pupil of Rembrandt. Like his master he painted portraits but he is best known for his genre paintings. Most of them are quite simple in composition. He uses rich, warm colors and always manages to have the light falling on the center of interest while all other parts of the picture are sunk into a dark tone. His handling of light and shade is exceptionally good. ARCHITECTURE AND SCULPTURE ABRAHAM LINCOLN Saint Gaudena 1848-1907 American This statue of Abraham Lincoln has been called the great­ est of all the portrait statues in the United States. We read that Lincoln was a man of very rugged character, that his features were unattractive, even ugly, yet his great love for down-trodden humanity gave his face such a kindly expression that it became really beautiful. These were the qualities that Saint Gaudens has tried to show in the statue. The next time we read about Lincoln let us study carefully in order that we may see how well the sculptor has suc­ ceeded in showing us the real Lincoln. In the first place the physical proportions are accurate. We read that Lincoln was a very tall man. He has been made larger in comparison with the proportions of the chair than a man of ordinary height would have been. Second, the bagginess of the clothes reminds us of Lincoln's diffi­culty in presenting a well-groomed appearance. Third, the strength and dignity, yet kindliness of the face assure us that here is the ideal Lincoln. The head is inclined down­ward, and the shoulders slightly stooped suggesting the man's humility. What a different idea of Lincoln we would have had if the head had been lifted proudly! When we look at this statue the man Lincoln seems very much alive as if he had just risen from his chair to speak to us. The eagle carved on the back of the chair is the symbol of the United States. This statue stands in Lincoln Park, Chicago. It was unveiled there in the year 1887. How long ago was that? Auguatua Saint Gaudena.-When he was only six months old, Saint Gaudens' parents brought him across the ocean from France. Because his father had been an humble shoe-maker in France and was unprepared to earn a living in America, this little boy Augustus from the time he was thirteen years old, had to support himself. The University of Texas Bulletin Tbe first art work Augustus did was when he was ap.. prenticed at different times to two cameo cutters. After he had saved enough money, he returned to France and later went to Italy to study art. At twenty-six, he received his first important commission. After that there was always plenty of work for him to do. Saint Gaudens' work helped to make that of other Ameri­can sculptors better because many tried to reach a standard as high as his. BLACKHAWK Taft 1860-American This is a photograph of the collossal statue, Black Hawk, which stands on the bank of the river at Oregon, Illinois. Some idea of its size may be gained by comparing it with the size of the man seated at its base. If your print does not show the man you may have more difficulty in estimating its size. The statue idealizes all the dignity of the American Indian Chief "Black Hawk." Notice how simply and yet how effectively the lower part of the statue is treated. This helps to lead our attention to the upper part and to the face from which the deep-set eyes seem to be looking out into a great distance. We do not see the arms, yet we know that they are folded under the blanket holding it around the body. The head does not stand out apart from the rest of the figure, but the heavy braids are arranged in such a way as to fall in line with the blanket, thus making all seem like one large, interesting mass. Since this statue must stand out of doors in all kinds of weather, it was necessary that it should have no small parts which could be broken off easily. Some anxiety was ex­perienced during its construction because it was done at a time of year when frosts might be expected. Cold some­times ruins concrete which is a part of the material used in its construction. Fifty Studies for Elementary Art Appreciation 55 Lorado Taft.-The father of Lorado Taft was a profes­sor of theology at the University of Illinois. As a child .Lorado was trained in habits of orderly thinking. At the age of nineteen he was graduated from the Institution in which his father taught. He went to Europe for training in sculpture and remained in Paris from 1880 until 1886. Upon his return to America he established a private studio in Chicago. Soon after this he was appointed "Head of the Department of Sculpture" at Chicago Art Institute and remained in this position for twenty-one years. He resigned in order to give more time to other work, which consisted of carving, modeling and training a group of young artists whom he had gathered about him. Lorado Taft has been described as a "Writer, speaker, artist, educator. Builder of cities, and Bearer of Light in Darkness." His statue "Black Hawk" is erected at his summer home in Oregon, Illinois, and is a monument to the Indians, the rightful owners of the land. The writer recalls an interesting incident which not only revealed Mr. Taft's appreciation of the work of his students but also showed the man's incomparable sense of humor. Mr. Taft took in his arms a tiny baby's head beautifully modeled by a student and remarked, "It is lovely! I want to cuddle it. I cannot do work like that. Nobody ever wanted to cuddle Black-hawk!" When you notice the size of "Black-hawk" you will under­stand why nobody wants to "cuddle" him. BRONZE DOORS Ghiberti 1378-1465 Italian To most of us, doors are very ordinary things. We see them every day and scarcely notice them, but we would be sure to notice those made hundreds of years ago by Lorenzo Ghiberti for the Baptistery of the Cathedral of Florence, Italy. They are so beautiful that Michaelangelo, the great painter and sculptor, declared that they were fit to serve as the gates to Paradise. Twenty-seven years The University of Texas Bulletin of the artist's life were spent in completing the task of making them. That is a long time to spend on one piece of work, but the doors are as beautiful today as when they were first completed in the year 1452. The material is bronze. Each door in the pair is divided into five panels, one above the other making ten panels in all. Each panel represents some incident from the Old Testament. Each tiny figure in the panels is delicately worked out in bas-relief and other figures form a border around the edge of each door. No two figures are alike and yet they harmonize beautifully with one another. Between each of the figures in the border there is a beautiful little head. This arrangement pleases us just as does the combination of loud and soft notes in music. One space is large and the next one is small. The figures at the top and bottom of the doors are lying down in order that they may fit into the design. Tiny modelings of fruits, flowers, birds, and small ani­mals make the border on the door frame. The little squirrel about half way up on the right hand side is very graceful. How should you like to make a drawing of it? See how gracefully the tail fits over the back. Study the borders of these doors a few moments. The border on the frame is wider than that on the doors. This makes it look heavier, yet it is not too wide to look well. Ifboth borders were the same width we should not like them. Things are monotonous and uninteresting unless they have variety in spacing. Lorenzo Ghiberti.-Many artists produce beautiful works of art, but Ghiberti did more than that. His work made other artists want to try to make other beautiful things. It also gave them ideas about how to make them. The doors that we have discussed above are on the east side of the building, but Ghiberti also made for the north side, doors which are nearly as famous as the others. When a contest was held in which many artists made designs for the north doors, Ghiberti's design and that of Fifty Studies for Elementary Art Appreciation 57 another artist named Brunelleschi were chosen as the best. As Brunelleschi knew that Ghiberti could do the work better than he, he withdrew from the contest in order that his friend might have the honor of giving the world another priceless art treasure. THE CAMPANILE AT FLORENCE (Giotto'a Tower) Giotto 1267-1337 Italian "Campanile" means a bell tower, and the one designed by Giotto for the cathedral of Florence is probably the world's finest one. It is exceedingly graceful in proportion, being made up of several stories which increase in size as they extend upward. This gradation of size is always pleasing and many artists make use of that idea in their work but few have done it as successfully as has Giotto. Within each large division are several small divisions of the space, yet each one is planned as carefully as if it were the most important of all. The Signory who commissioned Giotto to build the tower said that "The campanile should be built so as to exceed in magnificence, height and excel­lence of workmanship everything of the kind which had been achieved of old by the Greeks and the Romans." The tower is 276 feet high and richly adorned with marbles of harmonious coloring and skillfully carved orna­ments. Some of the carvings tell the story of Genesis; while others suggest how mankind may rise to a better and still better life. The color of the stone used in the construction of the tower is in harmony with all its rich beauty, being a soft rose relieved by very light gray. The Cathedral which it accompanies and the octagonal shaped building which is the Baptistery are built of the same material. It is this Bap­tistery which contains Ghiberti's bronze doors. Giotto, who made the plans for the campanile, died before it was completed. Other artists, Pissano and Talenti, carried out the work exactly as it had been planned except for the The University of Texas Bulletift spire which has not yet been built although nearly 600 years have elapsed since the tower as it now stands was completed. This last work was done between the years 1334 and 1387. Giotto di Bondone.-(For account of Giotto's life, see "Saint Francis Preaching to the Birds." Giotto) COLOGNE CATHEDRAL On the banks of the Rhine river in Germany in the city of Cologne, stands a cathedral with spires so high that they can be seen for miles around. It is built with high pointed arches after the manner of the Gothic churches of Italy. This is a type of architecture which is used today for churches. The Romans discovered how to make an arch out of stones by making at the top a key stone which would hold all the others in place. The Roman arches were all rounded at the top. The Italians borrowed this idea but tried to see high high they could make their arches. They used the pointed arches which are now known as the chief characteristic of the Gothic style of architecture. The Gothic arch was so attractive that the idea spread to other countries. Seven hundred years were spent in the building of this cathedral and it really is not finished yet because additions and changes are constantly being made. See how it towers above the smaller buildings around it. Notice also the deli­cate lace-like quality of its design. Find the main space divisions from top to bottom and compare them with those on Giotto's tower. Which are better? JOAN OF ARC Chapu 1833-1891 French This attractive little statue of the "Maid of Orleans" stands in the Louvre in Paris, France. It portrays Joan as a young girl, kneeling in prayer as if listening to her beloved voices. She is wearing the garb of the simple peasant girl before she donned armor and led the French king's armies into battle. Fifty Studies for Elementary Art Appreciation 69 This statue is very compact. That means that all parts are grouped together. There are no flying draperies or other small parts which stand out from the statue. Every part fits well into the main sculptural mass. The pyramid con­struction also adds to the solidity of statues just as it does to pictures. Henri Chapu.-When only a child, Chapu took great delight in modeling things from plastic clay. Later he studied modeling, and finally became recognized not only in France but in the whole world as one of the most famous of modern sculptors. He was fascinated by the story of Joan of Arc and modeled her figure just as he imagined it to be. We find that of the many figures he modeled the statue of Joan of Arc is his best work. He was so interested in Greek sculpture that he traveled extensively through European art galleries and museums where this work was to be found. He studied these figures so thoroughly that his work became much like that of the Greek sculpters. LINCOLN MEMORIAL This simple but beautifully proportioned structure is interesting not so much for itself as it is for the remarkable statue of Abraham Lincoln which it shelters. This statue, representing Lincoln seated in a chair, is thirty feet high. It was designed by Daniel Chester French, a great American sculptor. The statue is so large that a single block of marble of suitable size could not be obtained ; therefore the statue was made in twenty different parts. The first model was only three feet high. Another one five feet high was then made. This model was used as the basis for the final figure. Since one man alone could not carve such an enormous statue out of marble, Mr. French employed the six Piccinilli brothers to do the cutting. These men required eighteen months to complete it. After the cutters had finished their work, Mr. French cut the final details and made the changes he wished. Those who saw The University of Texas Bulletin him remarked that the statue seemed to come to life under his hand. The finished statue weighed two hundred tons and was sent on freight cars to Washington where it was assembled in its temple. MOSES Michaelangelo 147~1564 Italian This statue was meant to show the character of Moses the lawgiver but it also tells us much about the sculptor who made it. Moses here, is a man of great strength about to give way to his wrath over the misdeeds of the Jews. Only an artist who himself had great strength could have given the statue this feeling of power. The statue was made to form part of the tomb of Pope Julius II who is said to have been a very haughty man. There is a quality about the statue which suggests the character of this man, who, like Moses, "was at once lawgiver, priest and warrior." This very large statue is carved from pure white marble. Upon first looking at it, we find nowhere to rest our eyes because wherever we look the figure seems about to move. Notice the strength of the muscles, the heavy draperies and long curly beard. Everything about it suggests fullness and strength. Nothing is skimped or cramped. The design of the tomb of which this statue is a part was "so imposing that it probably led to the rebuilding of Saint Peters where the tomb was meant to be placed." The original plan was changed, however, and the tomb worked out in a simpler style. This statue now stands in the little church of "Saint Peter in Chains" in Rome, Italy. It is so imposing that everything else in the church seems unimportant by comparison. MOUNT VERNON Did you know that George Washington was, on one occa­sion at least, an architect? After he inherited Mount Vernon from his half-brother Lawrence, he enlarged the Fifty Studies for Elementary Art Appreciation 61 house twice and drew his own plans for the house and for the arrangement of the grounds and the flower gardens. The house is built of wood, cut in large blocks and painted white to resemble stone. It stands on a hill whose grass­covered sides gradually slope down to the Potomac river. Mount Vernon is a spacious mansion of Colonial style. The broad veranda across the front must have been a comfortable gathering place for the Washington family and their guests. This veranda offers a beautiful view of the river. The kitchen, servant houses and stables are to be seen at the rear. Mount Vernon is kept as a memorial through the efforts of a patriotic woman and the society which she organized. The house is always kept open and thousands of people visit it each year. This is the home that George Washington loved and to which he retired after his busy years of public life. The original house was built in 17 40. TOWER OF PISA Not far from the famous marble quarries of Carrara, in the town of Pisa, Italy, stands a group of beautiful buildings consisting of a cathedral, a baptistery, and a tower. This tower is known all over the world as "The Leaning Tower of Pisa." The earth under the south side of the tower has sunk thus causing the tower to incline sixteen and a half feet away from the perpendicular. The tower is 179 feet high. The building was done between the years 117 4 and 1350. Compare this tower with the one designed by Giotto. This one is much simpler in design but both towers are beautiful in a different way. The tower of Pisa is renowned for its grace and lightness of structure. Rising from the plain, it glistens like a lily in the sunlight because it is built of pure white carrara marble! BIBLIOGRAPHY Bryant, Lorinda M.-French Pictures and Their Painters. Dodd, Mead and Company, N. Y. Burroughs, Bryan-The Metropolitan Museum of Art, Catalogue of Paintings. Caffin, Charles H.-How to Study Pictures. The Century Company. Carpenter, Flora L.-Stories Pictures Tell. Rand, McNally and Company. Cortissoz, Royal-American Artists. Charles Scribner's Sons, N. Y. Crement, C. E.-Art and Artists. Ticknor and Company, Boston. Fattorusso, G.-Wonders of Italy, Medici Art Series. Babera Press, Florence, Italy. Fosca, Francis. (Translated by Hubert Wellington). Renoir. Heckman, Albert C.-Paintings of Many Lan& and Ages. Art Extension Society, N. Y. Lang, Parlee Hocker-Pictures Children Should Know. University of Texas Bulletin. Lester, Katherine M.-Great Pictures and Their Stories. Mentzer Bush and Company. Singleton, Esther-Turrets, Towers and Temples. Dodd, Mead and Company, N. Y. Vasari-Lives of Most Eminent Painters, Sculptors and Architects. George Bell and Sons, London. Whaley, Thelma-Fifty Famous Pictures. University of Texas Bulletin. Picture Study Leaflets. Colonial Arts Company, Oklahoma City, Okla. Owen Publishing Company, Dansville, N. Y. Practical Drawing Company, Dallas, Texas. MAGAZINE ARTICLES The Instructor. Articles on Art Appreciation, September, 1932, and June, 1932. Literary Digest. Gerard Terborch, February 28, 1926. The Nation. Vincent Van Gogh, by Temple Scott. May 9, 1928. The Outlook. Two Painters, December, 1919. Ignazio Zuloaga. January, 1926. Saint Nicholas. Lorado Taft, by Ethel L. Coe. March, 1980. Scribner's Magazine. The Field of Art, by Royal Corti880z. 1924. PRONUNCIATION OF ARTISTS' NAMES Adan, Emile____ _ __ _____ ____ __ ______________i'din' Angelico, Fra.___________ _ __ __ __ _____________iin-jel' e ko Bonbeur, Rosa ----------------------------------bOn' ner' Botticelli, Allessandro FilipepL.-..bot e cbel'le Carpaecio, Vittore............................-kiir pii'cbO Cezanne, PauL_____________________ _ ___sez-in' ( ?) Cbapu, Henri_______ ________chii poo', ilhn'ri' Chavannes, Puvi dL-------··-········---shil van' Cimabue ·------------------------che'mil bOo'ii Corot, Jean Baptiste Camille..........ko'ro', zhiln bip-teest ki'meel Correggio, Antonio Allegri da........kor red'jo Da Vinci, Leonardo.........._____________dil ven'che, le o nilr'do Dallin, Cyrus E._ _____________________ _dil'len Daumier, Honore_________________dil'mir De Hooch, Pieter_____________ ____dii bOg Degas, Edgar Hilaire_______________ de gas' Del Sarto, Andrea._________ __del silr to Geoffroy, J ean_______________________zho'frwii', zhiln Ghiberti, Lorenzo.....~---------·---ge ber'te Giotto di Bondone·-···-·····----------··--jot'to de bOn-do'nii Hals, Frans---------------------················-hiils Hobbema, MeinderL.·-·-··············-----hOb'be mil Homer, Winslow____ __ __ __________ __ ______ _ -Inness, George___________________________________in'es Landseer, Sir Edward.....................Jind'ser Maes, Nicolas -----------------------------------mils Michaelangelo, BuonarottL_ _______ ___mi'kel-in'je lo, bw6'nilr-ro'te Millet, Jean Francois_______________________ mil'lii (me yii.'), zhiln friln'swii' Monet, Claude._____________ __ ________mo'nii. Murillo, Bartolome Esteban _ ---------moo-rel'yo Potthast, Bernard _______ --------------------­ Raphael, Sanzio _ __ __ _ __ __----------------rif'ii.-el (rilf'ii.-el) siln'zyo Renoir, Auguste ---------------------------------re-nwilr' Reynolds, Sir Joshua ____ _ _________ ren'oldz Saint Gaudens, Auguste.................. sii.nt-gil'dilnz Sargent, John Singer ---------------------­ Taft, Lorado __ _------------------------ Terborch, Gerard ----------------------·-·----ter bOrk' Turner, Joseph Mallard William___ _ Van Dyke, Sir Anthony . ___ __ ________van dik' Van Gogh, Vincent __ __ --------······· vln giif' Velasquez, Diego ..... ----------------------vi llls'klth Whistler, James Abbott McNeilL. Zuloaga, Ignazio _···-·· ···----------------.....8~6-ll.'gll. EXPLANATION OF TERMS Bas-relief-Low relief; that is, having objects slightly raised from the background. Chiaroscuro--Emphasis upon light and shade. Complementary-Refers to colors which are opposites. Red, yel­low, and blue are the three primary colors. Any two of these mixed together produce a secondary color. The primary color omitted is the complement of the color mixed. Example: yellow and blue, when mixed together, make green. Red was the primary color not used in the mixing of green, therefore red is the complement-(complete­ment) of green because red is necessary to complete the primary triad. Decorative treatment-Adaptation of line, notan (dark and light), and color to form fine relationships. Emphasis upon design quality rather than upon realism. Flat colors are more prevalent than light and shade in decorative work. Foreshortening-Drawing in a way that makes the object appear to come toward the observer. Example: an arm stretched out toward the observer appears much shorter than the same arm in a different position. Frieze-A composition used as a border design to decorate a wall. Juxtaposition-When things are next to each other they are said to be in "juxtaposition." The term is used to describe different colors placed next to each other so that they will blend into one color when seen at a distance. Miniature-A small painting whose chief characteristic is delicate treatment of details. Opposition-Contrast of line, dark and light or color. Vertical and horizontal lines are said to be in "opposition" to each other. Perspective-The effect of distance upon the appearance of an object. Realistic-As much like the actual appearance as possible. Photo­graphic. Silhouette-Pictures developed in orle color only with background of contrasting color or tone. Usually they are black against white or white against black. No light and shade is used. Some pictures which are not actual silhouettes, suggest this type of treatment be­cause of their strong two-tone contrast. Corot's trees always have a suggestion of silhouette quality.