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On the opposite side the westward trend of War, Commerce, Conquest, Imagination, and Religion from all corners of the earth is typified. Mr. Simmons in all his work employs a very unusual technique of broken columns, without losing a certain desirable simplicity of surface.
The standard of well-being is set by the best-off of the competitors, for he it is who determines the current standard of technique and industry, the methods of production, the minimum of labour and skill. We cannot, as we have already seen, keep aloof from world-competition, for Germany needs cheap goods. We must therefore try to keep step so far as we can.
Dramatic criticism of an academic cast is of little value either to those who write plays or to those who see them. The man who buys his ticket to the theatre knows little and cares less about the technique of play-making; and for the dramatist himself there are no ten commandments.
Form and colour are like reputations which when they become shady are much of a muchness. Money and Technique We see that both musicians or painters with great command of technique seldom know what to do with it, while those who have little often know how to use what they have. Action and Study These things are antagonistic.
He is at once the artist translated into simpler terms and the appreciator raised to a higher power of perception and response. The service of criticism to the layman is to furnish him a clue to the meaning of the work in hand, and by the critic's own response to its beauty to reveal its potency and charm. With technique as such the critic is not concerned.
The men of their acquaintance who have been successful, have attained wealth and position, not as a rule through their mastery of technique or their skill in a trade; they have not come by their promotion merely on account of good workmanship, but through influence.
To the possession of a technique which united all the best qualities of other players, carrying each a step further, he added a powerful and passionate imagination which illuminated the work before him.
It is the mouldy and therefore the obvious end. The spirit that came to birth with the triumph of art over Graeco-Roman realism dies with the ousting of art by the picture of commerce. But if the Impressionists, with their scientific equipment, their astonishing technique, and their intellectualism, mark the end of one era, do they not rumour the coming of another?
His comprehension of light is a special one, his technique is not in accordance with the system of colour-spots; it observes the theory of complementary colours and of the division of tones without departing from a grand style, from a classic stateliness, from a superb sureness.
Of the MSS. and Illuminations only brief mention can be made. Surviving examples, and the records of the time, testify to the splendour and the sum of them. At the beginning of the thirteenth century, the French miniature was influenced in no small degree, both in technique and in colour, by glass painting.
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