untitled

Alabaster Blue Sectory 21

Gently tumble dry on a light and feathery Alabaster Blue.

Alabaster Blue

Alabaster Blue Home
Alabaster Blue Sitemap
Alabaster Blue Sct 01
Alabaster Blue Sct 02
Alabaster Blue Sct 03
Alabaster Blue Sct 04
Alabaster Blue Sct 05
Alabaster Blue Sct 06
Alabaster Blue Sct 07
Alabaster Blue Sct 08
Alabaster Blue Sct 09
Alabaster Blue Sct 10
Alabaster Blue Sct 11
Alabaster Blue Sct 12
Alabaster Blue Sct 13
Alabaster Blue Sct 14
Alabaster Blue Sct 15
Alabaster Blue Sct 16
Alabaster Blue Sct 17
Alabaster Blue Sct 18
Alabaster Blue Sct 19
Alabaster Blue Sct 20
Alabaster Blue Sct 21
Alabaster Blue Sct 22
Alabaster Blue Sct 23
Alabaster Blue Sct 24

Alabaster Blue Sectory 21

Reynolds was well-grounded in Venetian color, Bolognese composition, Parmese light-and-shade, and paid them the homage of assimilation; but if Gainsborough (1727-1788) had such school knowledge he positively disregarded it. He disliked all conventionalities and formulas. With a natural taste for form and color, and with a large decorative sense, he went directly to nature, and took from her the materials which he fashioned into art after his own peculiar manner. His celebrated Blue Boy was his protest against the conventional rule of Reynolds that a composition should be warm in color and light. All through his work we meet with departures from academic ways. By dint of native force and grace he made rules unto himself. Some of them were not entirely successful, and in drawing he might have profited by school training; but he was of a peculiar poetic temperament, with a dash of melancholy about him, and preferred to work in his own way. In portraiture his color was rather cold; in landscape much warmer. His brush-work was as odd as himself, but usually effective, and his accessories in figure-painting were little more than decorative after-thoughts. Both in portraiture and landscape he was one of the most original and most English of all the English painters--a man not yet entirely appreciated, though from the first ranked among the foremost in English art.

The following year (B.C. 207) decided the issue of the war in Italy. The war in Spain during the last few years had been carried on with brilliant success by the young P. Scipio, of whose exploits we shall speak presently. But in B.C. 208, Hasdrubal, leaving the two other Carthaginian generals to make head against Scipio, resolved to set out for Italy to the assistance of his brother. As Scipio was in undisputed possession of the province north of the Iberus, and had secured the passes of the Pyrenees on that side, Hasdrubal crossed these mountains near their western extremity, and plunged into the heart of Gaul. After spending a winter in that country, he prepared to cross the Alps in the spring of B.C. 207, and to descend into Italy. The two Consuls for this year were C. Claudius Nero and M. Livius. Nero marched into Southern Italy to keep a watch upon Hannibal; Livius took up his quarters at Ariminum to oppose Hasdrubal.



[ Dir 21 Part 01 ] [ Dir 21 Part 02 ] [ Dir 21 Part 03 ] [ Dir 21 Part 04 ] [ Dir 21 Part 05 ] [ Dir 21 Part 06 ]
[ Dir 21 Part 07 ] [ Dir 21 Part 08 ] [ Dir 21 Part 09 ] [ Dir 21 Part 10 ] [ Dir 21 Part 11 ] [ Dir 21 Part 12 ]


This document is Copyright © 2008 Alabaster Blue. All rights reserved. Do not copy either electronically or otherwise without permission. Links and references to other Websites are not endorsements. Alabaster Blue provides no guarantees or warrantees concerning other sites. Links are only provided as a courtesy and for entertainment purposes only.

Web Hosting · Blog · Guestbooks · Message Forums · Mailing Lists
Allwebco Web Templates · Build your own toolbar · Site Building Articles · Audio, Fonts, Clipart
powered by a free webtools company bravenet.com