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7. VARIATIONS IN THE REPRESENTATION OF DETAIL AND IN THE TREATMENT OF TONE RELATIONS IN PAINTING

Chapters in this book

  1. Frontmatter i
  2. PREFACE v
  3. CONTENTS xi
  4. PLATES xiii
  5. PART ONE. THE TERMS OF DRAWING AND PAINTING
  6. I. THE TERMS OF VISION AND OF DRAWING AND PAINTING. THE WORKING TONE SOLID 3
  7. 2. QUALIFICATIONS AND LIMITATIONS OF THE WORKING TONE SOLID - OTHER TONE SOLIDS - A TRUE TONE SOLID - PURITY AND BRILLIANCE 21
  8. PART TWO. MODES OF REPRESENTATION IN DRAWING AND PAINTING
  9. 3. THE VISUAL IMAGE AND VISUAL CONCEPTS 37
  10. 4. THE VISUAL EFFECT 44
  11. 5. THE MODES OF DRAWING 56
  12. 6. THE MODES OF PAINTING 74
  13. 7. VARIATIONS IN THE REPRESENTATION OF DETAIL AND IN THE TREATMENT OF TONE RELATIONS IN PAINTING 99
  14. 8. THE USE OF LIMITED PALETTES OR LIMITED TONE SEQUENCES 115
  15. 9. CONCLUSION -THE USE OF DIFFERENT MODES IN RECENT PAINTING 132
  16. APPENDIX
  17. I. DESIGN IN TONE RELATIONS 141
  18. II. THE EMOTIONAL SIGNIFICANCE OF DIFFERENT GENERAL TONALITIES 154
  19. III. THE QUESTION OF PREFERENCE FOR INDIVIDUAL TONES 155
  20. IV. A HYBRID MODE OF DRAWING AS ILLUSTRATED IN WINCHESTER MSS. 157
  21. BIBLIOGRAPHICAL NOTE 160
  22. PLATES 163
The Language of Drawing and Painting
This chapter is in the book The Language of Drawing and Painting
https://doi.org/10.4159/harvard.9780674863767.c11

Chapters in this book

  1. Frontmatter i
  2. PREFACE v
  3. CONTENTS xi
  4. PLATES xiii
  5. PART ONE. THE TERMS OF DRAWING AND PAINTING
  6. I. THE TERMS OF VISION AND OF DRAWING AND PAINTING. THE WORKING TONE SOLID 3
  7. 2. QUALIFICATIONS AND LIMITATIONS OF THE WORKING TONE SOLID - OTHER TONE SOLIDS - A TRUE TONE SOLID - PURITY AND BRILLIANCE 21
  8. PART TWO. MODES OF REPRESENTATION IN DRAWING AND PAINTING
  9. 3. THE VISUAL IMAGE AND VISUAL CONCEPTS 37
  10. 4. THE VISUAL EFFECT 44
  11. 5. THE MODES OF DRAWING 56
  12. 6. THE MODES OF PAINTING 74
  13. 7. VARIATIONS IN THE REPRESENTATION OF DETAIL AND IN THE TREATMENT OF TONE RELATIONS IN PAINTING 99
  14. 8. THE USE OF LIMITED PALETTES OR LIMITED TONE SEQUENCES 115
  15. 9. CONCLUSION -THE USE OF DIFFERENT MODES IN RECENT PAINTING 132
  16. APPENDIX
  17. I. DESIGN IN TONE RELATIONS 141
  18. II. THE EMOTIONAL SIGNIFICANCE OF DIFFERENT GENERAL TONALITIES 154
  19. III. THE QUESTION OF PREFERENCE FOR INDIVIDUAL TONES 155
  20. IV. A HYBRID MODE OF DRAWING AS ILLUSTRATED IN WINCHESTER MSS. 157
  21. BIBLIOGRAPHICAL NOTE 160
  22. PLATES 163
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