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Updated: June 22, 2025
Who was Herri met de Bles? Nearly all the large European galleries contain specimens of his work and in the majority of cases the pictures are queried. That fatal (?) which, since curators are more erudite and conscientious, is appearing more frequently than in former years, sets one to musing over the mutability of pictorial fortunes. Also, it awakens suspicions as to the genuineness of paint. Restorations, another fatal word, is usually a euphemism for overpainting. Between varnish and retouching it is difficult to tell where the old master leaves off and the "restorer" begins. Bles, for example, as seen in the Rijks Museum, is a fascinating subject to the student; but are we really looking at his work? The solitary picture of his here, Paradise, is so well preserved that it might have been painted a year ago. (It is an attribution.) Yet this painter is supposed to have been born at Bouvignes, 1480, and to have died at Liège, 1521. He was nicknamed Herri, for Hendrick, met de Bles, because he had a tuft of white in his hair (a forerunner of Whistler). The French called him Henri
The riturnello of Sélika's aria, which should be performed with lowered curtain as the queen gazes over the sea and at the departing vessel far away on the horizon, became a vehicle for encores the last thing that was ever in Meyerbeer's mind. But the worst was the liberty Fétis took in retouching the orchestration.
Not so readily to be approved are certain other changes which amount to a retouching of some of the portraits with which Schiller was dissatisfied, notably that of the Sultan Saladin. Of much greater interest than either of these adaptations is that of 'Macbeth', which was made in January and February, 1800.
When he woke from it, little Effie Bowen was airily tiptoeing about the room, fondly retouching its perfect order. He closed his eyes, and felt her come to him and smooth the sheet softly under his chin. Then he knew she must be standing with clasped hands admiring the effect. Some one called her in whisper from the door. It closed, and all was still again.
The American forest has so often been described, as to cause one to hesitate about reviving scenes that might possibly pall, and in retouching pictures that have been so frequently painted as to be familiar to every mind. But God created the woods, and the themes bestowed by his bounty are inexhaustible.
Some of the Spanish documents upon which he relied have been proved less trustworthy than he thought, but this unsuspected defect in his materials scarcely impaired the skill with which this unhasting, unresting painter filled his great canvases. They need retouching, perhaps, but the younger historians are incompetent for the task.
In short, all these works that Antonio made in the Campo Santo are such that they have been universally held, and with great reason, the best of all those that have been wrought by many excellent masters at various times in that place, for the reason that, besides the particulars mentioned, the fact that he painted everything in fresco, never retouching any part on the dry, brought it about that up to our day they have remained so vivid in the colouring that they can teach the followers of that art and make them understand how greatly the retouching of works in fresco with other colours, after they are dry, causes injury to their pictures and labours, as it has been said in the treatise on Theory; for it is a very certain fact that they are aged, and not allowed to be purified by time, by being covered with colours that have a different body, being tempered with gums, with tragacanths, with eggs, with size, or some other similar substance, which tarnishes what is below, and does not allow the course of time and the air to purify that which has been truly wrought in fresco on the soft plaster, as they would have done if other colours had not been superimposed on the dry.
Now since Federigo, when he executed that work, was not more than twenty-eight years of age, Taddeo, who reflected that the work was in a public place, and that it was of great importance to the credit of Federigo, not only went sometimes to see him at his painting, but also at times insisted on retouching and improving some part.
Eleanor wore such a look as Joan of Arc must have worn when she first heard the heavenly voices. Her shapely bare arms hung limp at her sides, and her white face, with its contrasting black hair, shone like a delicate cameo against the darkness. Harold, leaning forward with elbows on his knees, kept lightly touching and retouching his mustache.
The musician, too: no one would think of finding fault with him for working every day at his art; and it is the same with all craftsmen; the more they worked, the surer would their touch be. Now I am inclined to believe that what makes writing good is not so much the pains taken with a particular piece of work, the retouching, the corrections, the dear delays.
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