C. Lewis Hind (1862–1927)
Autor von Turner (Masterpieces in Colour)
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Werke von C. Lewis Hind
Watteau (Masterpieces in Colour) 10 Exemplare
Ecclesiasticus; or, The Wisdom of Jesus, the Son of Sirach [RV] — Einführung, einige Ausgaben — 4 Exemplare
ONE HUNDRED BEST BOOKS. WITH THE ADDITION OF A SUPPLEMENTARY LIST OF ONE HUNDRED TITLES SUGGESTED BY THE PUBLISHERS OF… (1928) 3 Exemplare
Adventures among pictures 3 Exemplare
Art and I 2 Exemplare
Turner Masterpieces in Color 2 Exemplare
The consolations of a critic 2 Exemplare
Drawings of Leonardo da Vinci 2 Exemplare
The Great Painters In Art And Life 2 Exemplare
100 best poems 2 Exemplare
100 Best Prayers 1 Exemplar
Things seen in America 1 Exemplar
Life's little things 1 Exemplar
The soldier-boy 1 Exemplar
Turner's golden vision 1 Exemplar
Augustus Saint-Gaudens 1 Exemplar
Devonia. The official organ of the United Devon Association. Vol III No 1, 2, 3, 4, 5, 6. Vol IV No 1, 2, 3, 4, 5, 6. (1906) — Herausgeber — 1 Exemplar
The invisible guide 1 Exemplar
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Wissenswertes
- Rechtmäßiger Name
- Hind, Charles Lewis
- Geburtstag
- 1862
- Todestag
- 1927
- Geschlecht
- male
- Nationalität
- UK
- Berufe
- art historian
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Statistikseite
- Werke
- 29
- Mitglieder
- 92
- Beliebtheit
- #202,476
- Bewertung
- 3.7
- Rezensionen
- 8
- ISBNs
- 7
THE apparition of Watteau in France in the early eighteenth century may be likened to the apparition of Giotto in Italy in the early fourteenth. Each was a genius; each broke away from the herd; each gave to the world a new vision; each inspired a school. But there the resemblance ends. Giotto's art was Christian, Watteau's Pagan; or, in other[Pg 12] words, Giotto lived in an age when the aim of art was to teach religion, Watteau—well, his pictures were designed to delight. Giotto sought to remind men of Christianity, to bring them humbly to their knees with representations (marvellously fresh in those days when art was still groping in the Byzantine twilight) of the life of the Founder of Christianity, all its pathos, pity, and promise. Watteau gave joy and exhiliration to a generation temporally dull and morose, chilled by the academical art of the period, and apparently content with it. Watteau appeared: the little world about him looked at his pictures and, what a change! "Paris dressed, posed, picnicked, and conversed à la Watteau."
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