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- Author: Kate Thompson
- Publisher: Kessinger Publishing
- ISBN-10: 0548314128
- ISBN-13: 9780548314128
- Format: 15.2 x 22.9 x 2.7 cm, minkšti viršeliai
- Language: English
- SAVE -10% with code: EXTRA
A Handbook To The Public Picture Galleries Of Europe (e-book) (used book) | bookbook.eu
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Excerpt from A Handbook to the Public Picture Galleries of Europe: With a Brief Sketch of the History of the Various Schools of Painting, From the 13th Century to the 18th Inclusive Still it has not been found possible to see and compare so many fine works without occasionally expressing some sort of opinion here and there. The most difficult problem perhaps which presents itself to the travelling Fine Art student is that of determining the authorship of certain pictures. Each gallery decides for itself - and naturally shows some partiat in doing so - the authenticity of the works in its own possession. In some few instances, in which the assumption of a great name was obviously unjustifiable, I have at once said the work ascribed to such a master is certainly not by his hand but in a certain proportion of doubtful examples and they are numerous - I have felt it was not in my province to contest the name employed. On the other hand, in many cases throughout the catalogues I have intentionally denoted the existence of grave doubt by placing the words attributed to after the painter's name.
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- Author: Kate Thompson
- Publisher: Kessinger Publishing
- ISBN-10: 0548314128
- ISBN-13: 9780548314128
- Format: 15.2 x 22.9 x 2.7 cm, minkšti viršeliai
- Language: English English
Excerpt from A Handbook to the Public Picture Galleries of Europe: With a Brief Sketch of the History of the Various Schools of Painting, From the 13th Century to the 18th Inclusive Still it has not been found possible to see and compare so many fine works without occasionally expressing some sort of opinion here and there. The most difficult problem perhaps which presents itself to the travelling Fine Art student is that of determining the authorship of certain pictures. Each gallery decides for itself - and naturally shows some partiat in doing so - the authenticity of the works in its own possession. In some few instances, in which the assumption of a great name was obviously unjustifiable, I have at once said the work ascribed to such a master is certainly not by his hand but in a certain proportion of doubtful examples and they are numerous - I have felt it was not in my province to contest the name employed. On the other hand, in many cases throughout the catalogues I have intentionally denoted the existence of grave doubt by placing the words attributed to after the painter's name.
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