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By Paul Smith, Carolyn Wilde

The significant other presents an available serious survey of Western visible artwork thought from assets in Classical, Medieval and Renaissance suggestion via to modern writings.

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Our students should follow 13 Tradition and the Academy this method with painting’ (1991, p. 89). Teaching someone to write, however, only has point if the person taught is going to have something to say. There is an important shift between being able to form letters and understanding syntax in sentence construction. But it is only when someone has mastered both of these that they can begin to write eloquently or poetically about some subject. In appropriating the models of grammar and rhetoric, however, Alberti is keen to point out that however vivid or persuasive a literary description might be, we should recognize how much more beauty and pleasure can be had from a painting.

131). In Book Three Alberti writes, ‘I would have those who begin to learn the art of painting do what I see practised by teachers of writing. They first teach all the signs of the alphabet separately, and then how to put syllables together and then whole words. Our students should follow 13 Tradition and the Academy this method with painting’ (1991, p. 89). Teaching someone to write, however, only has point if the person taught is going to have something to say. There is an important shift between being able to form letters and understanding syntax in sentence construction.

Reynolds, Joshua (1959) Discourses on Art, 1769–90, Robert R. ), Yale University Press Snyder, Joel (1980) ‘Picturing vision’, Critical Enquiry, 6, 499–526 White, John (1967) The Birth and Rebirth of Pictorial Space, Faber 18 A Companion to Art Theory Edited by Paul Smith, Carolyn Wilde Copyright © 2002 by Blackwell Publishers Ltd Chapter 1 The Classical Concept of Mimesis Göran Sörbom Fine art is not eternal and constant but culturally dependent. As such it has been produced, described and explained in different ways.

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