Human Generated Data

Title

Introduction by The Author [John Constable]
Date

1833
People

Artist: David Lucas, British 1802 - 1881

Artist: John Constable, British 1776 - 1837
Classification

Prints
Credit Line

Harvard Art Museums/Fogg Museum, James Constable Collection, Loan from James Constable, 74.2004.71

Human Generated Data

Title

Introduction by The Author [John Constable]

People

Artist: David Lucas, British 1802 - 1881

Artist: John Constable, British 1776 - 1837

Date

1833

Classification

Prints

Credit Line

Harvard Art Museums/Fogg Museum, James Constable Collection, Loan from James Constable, 74.2004.71

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created on 2023-10-22

booklet 99.6
template 99.6
page 99.5
layout 99.2
form 98.4
presentation 97.7
stepping 97.4
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steps 96.6
vector 96.2
text 95.9
stripe 94.9
sequence 94.8
no person 94
variant 93.7
navigation 93.6
label 92.8
option (finance) 92.1
card 90.2
cover 88.7

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created on 2022-03-12

reflection 54.3
picture 52.9
representation 40.6
menu 34.7
business 32.9
depository 31.8
design 31.6
creative 30.9
facility 28.9
idea 28.5
definition 28.5
decorative 28.4
association 27.6
creation 27
artwork 25.7
data 25.6
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information 24
art 23.7
paper 23.6
graphic 23.4
element 22.4
letter 22
decoration 21.7
advertising 21.1
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cover 20.4
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advertisement 20.3
collage 20.3
collection 19.9
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brochure 19.5
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composition 18.9
decor 18.6
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text 13.1
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book 12.8
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Publication 56.8

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INTRODUCTION. * Nallins addietus jurare in rerba magistri, " Quo me eungue rapit tempestas, deferor hospes."-noR ACE. THE Author rests in the belief that the present collection of Prints of Rural Landscape may not be found wholly unworthy of attention. It originated in no mercenary views, but merely as a pleasing professional occupation, and was continued with a hope of imparting pleasure and instruction to others. He had imagined to himself certain objects in art, and has always pursued them. Much of the Landscape, forming the subject of these Plates, going far to embody his ideas (owing perhaps to the rich and feeling manner in which they are engraved) he has been tempted to publish them, and offers them as the result of his own experience, founded as he conceives it to be in a just olservation of natural scenery in its various aspects. From the almost universal esteem in which the Arts are now held, the Author is encouraged to hope that this work may not be found unacceptable, since perhaps no branch of the Art offers a more inviting field of study than Landscape. " Soul-soothing Art! whom morning, noon-tide, even, " Do serve with all their fitful pageantry." The immediate aim of the Author in this publication is to increase the interest for, and promote the study of, the Rural Scenery of England, with all its endearing associations, its amenities, and even in its most simple localities; abounding as it does in grandeur, and every description of Pastoral Beauty : England, with her climate of more than vernal freshness, and in whose summer skies, " with thousand liveries dight," and rich autumnal clouds, the observer of Nature may daily watch her endless varieties of effect. But perhaps it is in its professional character that this work may be most considered, so far as it respects the ART; its aim being to direct attention to the source of one of its most eficient principles, the "CHLAR'OSCUURO OF NATURE," to mark the influence of light and shadow upon Landseape, not only in its general impression, and as a means of rendering a proper emphasis on the parts, but also to show its use and power as a medium of expression, so as to note “ the day, the hour, the sunshine, and the shade." In some of these subjects of Landscape an attempt has been made to arrest the more abrupt and transient appearances of the CHIAR'OSCURO IN NATURE: to shew its effect in the most striking manner, to give " to one brief moment caught from fleeting time," a lasting and sober existence, and to render permanent many of those splendid but evanescent Exhilbitions, which are ever occurring in the endless varieties of Nature, in her external changes. " Still would my partial peneil love to dwell " On the home prospeet of my hermit cell, * Still must it trace (the fleeting tints forgive) Each fleeting eharm that bids the landscape live. The effects of light and shadow selected for these views, are transcripts only of such as occurred at the time of their being taken. The subjects, most of which are from the Pictures exhibited by the Author at the Royal Academy during the last few years, consist chiefly of home seenery; they are taken from real places, and are meant particularly to charac- terize the scenery of England. In their selection a partiality has perhaps been given to those of a particular neighbourhood: some of them, however, may be more generally interesting. as the scenes of many of the marked historical events of our middle ages. In Art as in Literature, there are two modes by whieh men endeavour to attain the same end, and seek distinction. In the one, the Artist, intent only on the study of departed excellence, or on what others have accomplished, becomes an imitator of their works, or he selects and combines their various beauties; in the other he seeks perfection at its PRIMITIVE SOURCE, NATURE. The one, forms a style upon the study of pictures, or the art alone; and produces, either " imitative," "seholastic," or that which has been termed "Eelectie Art." The other, by study equally legitimately founded in art, but further pursued in such a far more expansive field, soon finds for himself innumerable sources of study, hitherto unexplored, fertile in beauty, and by attempting to display them for the first time, forms a style which is original; thus adding to the Art, qualities of Nature unknown to it before. The results of the one mode, as they merely repeat what has been done by others, and by having the aPpearance of that with which the eye is already familiar, can be easily comprehended, soon estimated, and are at once received. Thus the rise of an Artist in a sphere of his own must almost certainly be delayed; it is to time generally that the justness of his claims to a lasting reputation will be left; so few appreciate any deviation from a beaten track, can trace the indications of Talent in immaturity, or are qualified to judge of productions bearing an original cast of mind, of genuine study, and of consequent novelty of style in their mode of execution. 33. CILARLOTTE STREET, FITZROY SQUARR. Janry, I3
INTRODUCTION.
*
Nallins
addietus
jurare
in
rerba
magistri,
"
Quo
me
eungue
rapit
tempestas,
deferor
hospes."-noR
ACE.
THE
Author
rests
the
belief
that
present
collection
of
Prints
Rural
Landscape
may
not
be
found
wholly
unworthy
attention.
It
originated
no
mercenary
views,
but
merely
as
a
pleasing
professional
occupation,
and
was
continued
with
hope
imparting
pleasure
instruction
to
others.
He
had
imagined
himself
certain
objects
art,
has
always
pursued
them.
Much
Landscape,
forming
subject
these
Plates,
going
far
embody
his
ideas
(owing
perhaps
rich
feeling
manner
which
they
are
engraved)
he
been
tempted
publish
them,
offers
them
result
own
experience,
founded
conceives
it
just
olservation
natural
scenery
its
various
aspects.
From
almost
universal
esteem
Arts
now
held,
is
encouraged
this
work
unacceptable,
since
branch
Art
more
inviting
field
study
than
Landscape.
Soul-soothing
Art!
whom
morning,
noon-tide,
even,
Do
serve
all
their
fitful
pageantry."
The
immediate
aim
publication
increase
interest
for,
promote
of,
Scenery
England,
endearing
associations,
amenities,
even
most
simple
localities;
abounding
does
grandeur,
every
description
Pastoral
Beauty
:
her
climate
vernal
freshness,
whose
summer
skies,
thousand
liveries
dight,"
autumnal
clouds,
observer
Nature
daily
watch
endless
varieties
effect.
But
character
considered,
so
respects
ART;
being
direct
attention
source
one
eficient
principles,
"CHLAR'OSCUURO
OF
NATURE,"
mark
influence
light
shadow
upon
Landseape,
only
general
impression,
means
rendering
proper
emphasis
on
parts,
also
show
use
power
medium
expression,
note
“
day,
hour,
sunshine,
shade."
In
some
subjects
an
attempt
made
arrest
abrupt
transient
appearances
CHIAR'OSCURO
IN
NATURE:
shew
effect
striking
manner,
give
brief
moment
caught
from
fleeting
time,"
lasting
sober
existence,
render
permanent
many
those
splendid
evanescent
Exhilbitions,
ever
occurring
Nature,
external
changes.
Still
would
my
partial
peneil
love
dwell
On
home
prospeet
hermit
cell,
must
trace
(the
tints
forgive)
Each
eharm
bids
landscape
live.
effects
selected
for
transcripts
such
occurred
at
time
taken.
subjects,
Pictures
exhibited
by
Royal
Academy
during
last
few
years,
consist
chiefly
seenery;
taken
real
places,
meant
particularly
charac-
terize
England.
selection
partiality
given
particular
neighbourhood:
however,
generally
interesting.
scenes
marked
historical
events
our
middle
ages.
Literature,
there
two
modes
whieh
men
endeavour
attain
same
end,
seek
distinction.
one,
Artist,
intent
departed
excellence,
or
what
others
have
accomplished,
becomes
imitator
works,
selects
combines
beauties;
other
seeks
perfection
PRIMITIVE
SOURCE,
NATURE.
forms
style
pictures,
art
alone;
produces,
either
imitative,"
"seholastic,"
termed
"Eelectie
Art."
other,
equally
legitimately
further
expansive
field,
soon
finds
innumerable
sources
study,
hitherto
unexplored,
fertile
beauty,
attempting
display
first
time,
original;
thus
adding
Art,
qualities
unknown
before.
results
mode,
repeat
done
others,
having
aPpearance
eye
already
familiar,
can
easily
comprehended,
estimated,
once
received.
Thus
rise
Artist
sphere
certainly
delayed;
justness
claims
reputation
will
left;
appreciate
any
deviation
beaten
track,
indications
Talent
immaturity,
qualified
judge
productions
bearing
original
cast
mind,
genuine
consequent
novelty
mode
execution.
33.
CILARLOTTE
STREET,
FITZROY
SQUARR.
Janry,
I3