Inhaltsangabe
Treatise On The Knowledge Necessary To Amateurs In Pictures is a book written by Francois-Xavier De Burtin in 1845. The book is a comprehensive guide for amateur art enthusiasts who are interested in learning more about the basics of painting and the techniques used by artists. The book is divided into several sections, each covering a different aspect of painting, including color theory, composition, perspective, and brushwork. The author provides detailed explanations of each topic, accompanied by illustrations and examples to help readers better understand the concepts.One of the unique features of this book is its focus on the importance of observation in painting. Burtin emphasizes the need for amateur artists to closely observe the world around them and to develop their skills in drawing from life. He also provides practical advice on how to set up a studio, choose materials, and care for painting tools.Overall, Treatise On The Knowledge Necessary To Amateurs In Pictures is a valuable resource for anyone interested in learning more about the art of painting. Its clear explanations, practical advice, and emphasis on observation make it an essential guide for aspiring artists and art enthusiasts alike.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world’s literature in affordable, high quality, modern editions, that are true to their original work.
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Reseña del editor
The slight extension of the subject which he has made, by the introduction of the prices of pictures at the public sales of the principal collections in France for the last hundred years, taken from the work of M. Gault de Saint Germain, need scarcely be noticed as an exception to this statement. The abridgments that have been made, have been chiefly on those parts of the work in which it digresses into controversial matter no longer at issue, such as the comparative merits of colour and design, or the opinions of writers in regard to the Flemish school of painting. In these, the Translator has used greater freedom, both of selection and arrangement; but he has, at the same time, been careful to retain throughout the tone and train of thought of the A uthor. The Translator was much interested by discovering that two of the pictures described by M.
(Typographical errors above are due to OCR software and don't occur in the book.)
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