Six lectures on painting (Registro nro. 118031)
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| fixed length control field | 03250cam a22003373u 4500 |
| 001 - CONTROL NUMBER | |
| control field | 77311 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | UtSlPG |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20260610134806.0 |
| 006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS | |
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| 007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION | |
| fixed length control field | cr n |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 260607r20251904utu|||||o|||||||||||||| d |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | UtSlPG |
| 041 #7 - LANGUAGE CODE | |
| Language code of text/sound track or separate title | en |
| Source of code | iso639-1 |
| 050 #4 - LIBRARY OF CONGRESS CALL NUMBER | |
| Classification number | ND |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Clausen, George, |
| Dates associated with a name | 1852-1944 |
| 245 10 - TITLE STATEMENT | |
| Title | Six lectures on painting |
| 250 ## - EDITION STATEMENT | |
| Edition statement | Third edition |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Place of production, publication, distribution, manufacture | Salt Lake City, UT : |
| Name of producer, publisher, distributor, manufacturer | Project Gutenberg, |
| Date of production, publication, distribution, manufacture, or copyright notice | 2025 |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 1 online resource : |
| Other physical details | multiple file formats |
| 336 ## - CONTENT TYPE | |
| Content type term | text |
| Content type code | txt |
| Source | rdacontent |
| 337 ## - MEDIA TYPE | |
| Media type term | computer |
| Media type code | c |
| Source | rdamedia |
| 338 ## - CARRIER TYPE | |
| Carrier type term | online resource |
| Carrier type code | cr |
| Source | rdacarrier |
| 500 ## - GENERAL NOTE | |
| General note | Release date is 2025-11-24 |
| 505 0# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Introductory: some early painters -- On lighting and arrangement -- On colour -- Titian, Velasquez, and Rembrandt -- On landscape and open-air painting -- On realism and impressionism. |
| 508 ## - CREATION/PRODUCTION CREDITS NOTE | |
| Creation/production credits note | deaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | "Six lectures on painting" by George Clausen is a collection of art lectures written in the early 20th century. The work offers practical guidance and clear aesthetic principles for students, blending historical overview with hands-on advice about seeing, composing, lighting, and colouring, and uses exemplary masters to show how painters think and decide.<br/><br/>The opening of the lectures sets out to supplement studio training with mental direction, noting how modern freedom, photography, and Japanese art have unsettled tradition while widening choice. Clausen urges students to study old masters by sympathy and beginnings, then contrasts Fra Angelico’s visionary simplicity with Masaccio’s truthful realism to show how sentiment and structure can coexist. He rejects a strict divide between decorative and pictorial art, arguing for pictures that please the eye yet control attention through lighting, arrangement, and deliberate conventions, drawing on Leonardo’s precepts and examples such as Velázquez’s room-lit scenes and Titian’s outdoor groupings. He explains two ways of “seeing” light (Rembrandt’s concentrated glare versus Claude’s open gradation), warns against photographic neutrality, and makes colour—its warm/cool balance, keying, and quality—the painter’s chief means of expression, whether by direct paint or glazing. He illustrates modern truthfulness in colour and tone with Velázquez, Chardin, Manet, Millais, and Whistler. A comparative survey follows: Titian’s unifying, radiant harmonies; Velázquez’s detached, exact vision; and Rembrandt’s imaginative light and human sympathy. The section closes by turning to landscape and open-air painting—from early Italian skies through Patinir, Titian, the Dutch line to Claude, Turner, and Constable—arguing that compelling landscape translates the mood of nature rather than inventorying its parts. (This is an automatically generated summary.) |
| 534 ## - ORIGINAL VERSION NOTE | |
| Introductory phrase | Originally published: |
| Publication, distribution, etc. of original | London: Methuen & Co., 1904 |
| 653 ## - INDEX TERM--UNCONTROLLED | |
| Uncontrolled term | Painting |
| 856 4# - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://archive.org/details/sixlecturesonpai00claurich">https://archive.org/details/sixlecturesonpai00claurich</a> |
| 856 40 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://www.gutenberg.org/ebooks/77311">https://www.gutenberg.org/ebooks/77311</a> |
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