By John Bascom
All through time, artists have maintained a detailed courting with the animal international, which has proved to be an inexhaustible resource of concept. First, they bought concept without delay from their setting. subsequent, animals have been utilized in artwork for his or her prestige as household pals, symbols of an intimate and familial existence, held in really excessive esteem in the course of the Renaissance. Later, in Orientalism, animal artwork the invention of unique fauna which appealed to modern artists. The animal and its wild good looks are depicted right here via artworks from Albrecht Dürer, Pieter Bruegel, Leonardo da Vinci, Katsushika Hokusai, Henri Rousseau, and Paul Klee.
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Extra resources for Beauty of the Beast
Cervus elaphus Giuseppe Arcimboldo Second half of 16th century. Watercolour on parchment Österreichische Nationalbibliothek, Vienna 58 59 That which reveals its own nature is to be preferred to that whose success is dependent on a suggestion of something better than itself. Imitation should be turned aside from entire resemblance, and those features which mark the nature of the material be suffered, nay, made to appear freely. Iron-work will ever show itself to be iron, unless most assiduously disguised.
It then does an honest, valuable, and praiseworthy work. While the veining of wood may suggest a pattern, Red Hartebeest and Mountain Coati Ulisse Aldrovandi Second half of 16th century. Watercolour Biblioteca Universitaria, Bologna 56 57 that graining is best which gives rise to no doubt, but in itself and in its relations at once shows that it is graining. An agreeable impression may undoubtedly be secured by a cheap yet permanent surface work, and it would certainly be foolish to throw away papers and paints, which relieve and cheer the eye in every dwelling, because what is represented by them is often not real; nor is it difficult to draw important practical distinctions between the right and wrong methods of using these materials.
2 cm The British Museum, London 46 47 true is genuine, and is especially at war with veneering, paint, stucco, fresco, and cast ornaments; at least, so far as they purport to be other than what they are. An encouragement of these makes deception an end of art, and naked imitation its means, thus destroying the artist; gives rise to pretence, ostentation, and an ungrounded self-satisfaction in the employer of art, thus degrading him from the patron of virtuous taste to the pander of a false and foolish vanity.
Beauty of the Beast by John Bascom