Chronology Entry
Year
1823
Text
Waln, Robert. Painters of Canton.
"Chinese painters offend against every rule of perspective, which, with the effects produced by the proper disposition of light and shade, they affect to consider unnatural. Always taking a horizontal view of their subject, they place themselves alternately in front of the objects, whatever may be their position or extent ; thus, in their paintings, houses are placed one on top of another, and the method which they have imagined to express objects at a distance, is to represent clouds intersecting tress, buildings and men. They absurdly contend that it is proper to represent the objects in the back, of the same size as those in the fore ground, because they are so in nature."
"Chinese painters offend against every rule of perspective, which, with the effects produced by the proper disposition of light and shade, they affect to consider unnatural. Always taking a horizontal view of their subject, they place themselves alternately in front of the objects, whatever may be their position or extent ; thus, in their paintings, houses are placed one on top of another, and the method which they have imagined to express objects at a distance, is to represent clouds intersecting tress, buildings and men. They absurdly contend that it is proper to represent the objects in the back, of the same size as those in the fore ground, because they are so in nature."
Mentioned People (1)
Waln, Robert
(Philadelphia, Penn. 1794-1825 Providence, R.I.) : Kaufmann, Reisender
Subjects
Art : Painting and Calligraphy
Documents (1)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 2014 |
The reception of Chinese art across cultures. Ed. by Michelle Ying-ling Huang. (Newcastle upon Tyne : Cambridge Scholars Publishing, 2014). [Enthält] : Part I: Blending Chinese and Foreign Cultures Chapter One ................................................................................................. 2 Shades of Mokkei: Muqi-style Ink Painting in Medieval Kamakura Aaron M. Rio Chapter Two .............................................................................................. 23 Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export Painting Maria Kar-wing Mok Chapter Three ............................................................................................ 44 "Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945 Clare Taylor Chapter Four .............................................................................................. 65 "Chinese" Paintings by Zdenek Sklenar Lucie Olivova Part II: Envisioning Chinese Landscape Art Chapter Five .............................................................................................. 88 Binyon and Nash: British Modernists’ Conception of Chinese Landscape Painting Michelle Ying-ling Huang Chapter Six .............................................................................................. 115 In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden Art Minna Törmä Chapter Seven .......................................................................................... 130 The Return of the Silent Traveller Mark Haywood Part III: Conceptualising Chinese Art through Display Chapter Eight ........................................................................................... 154 Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual Culture Lenore Metrick-Chen Chapter Nine ........................................................................................... 179 Exhibitions of Chinese Painting in Europe in the Interwar Period: The Role of Liu Haisu as Artistic Ambassador Michaela Pejcochova Chapter Ten ............................................................................................. 200 The Right Stuff: : Chinese Art Treasures’ Landing in Early 1960s America Noelle Giuffrida Part IV: Positioning Contemporary Chinese Artists in the Globe Chapter Eleven ........................................................................................ 228 Under the Spectre of Orientalism and Nation: Translocal Crossingsand Discrepant Modernities Diana Yeh Chapter Twelve ....................................................................................... 255 The Reception of Xing Danwen’s Lens-based Art Across Cultures Silvia Fok Chapter Thirteen ...................................................................................... 278 Selling Contemporary Chinese Art in the West: A Case Studyof How Yue Minjun’s Art was Marketed in Auctions Elizabeth Kim S. 159. |
Publication / Huang1 |