Искусство. Котлярова С.В - 13 стр.

colour in respect to brilliance, but it always suggests hue, and is commonly       one might praise a talented artist for using paint with "the touch of an art-
used in reference to light colours (or colours of high brilliance) that seem to    ist". Nevertheless if a child asked Who (or what) was Rembrandt? the an-
be given by a light or delicate touching; thus, what are often called "pastel      swer should be A painter, and not An artist.
colours", or less properly, "pastel shades", are in precise use, tints. The term
                                                                                   PAINTING, PICTURE
is not infrequently used in contrast to shade, especially when the latter word
connotes comparative darkness or dullness (or low brilliance). Tinge im-                  As nouns, painting describes rather the action or operation, and pic-
plies more of interfusion or stain than tint.                                      ture the result. When we speak of a good painting, we think, particularly of
                                                                                   its execution as to drapery, disposition of colours, and the like; but when we
CONSTRUCT see BUILD                                                                speak of a fine picture, we refer immediately to the object represented, and
COPY see REPRODUCTION                                                              the impression which it is capable of producing on the beholder; paintings
CRAFT see ART                                                                      are confined either to oil-paintings or paintings in colours; but every draw-
DISPLAY see SHOW                                                                   ing, whether in pencil, in crayon, or in India ink, may produce a picture;
EDIFICE see BUILDING                                                               and we have likewise pictures in embroidery, pictures in tapestry, and pic-
ERECT see BUILD                                                                    tures in mosaic.
EXHIBIT see SHOW
FLOOR, STOREY                                                                      PICTURE see PAINTING
                                                                                   REPRODUCTION, COPY, TRANSCRIPT
        The numbering of floors and storeys is peculiar, the second floor,
e.g., being the third storey. The ground floor and the ground storey are the              Reproduction may imply identity in material or substance, in size,
same, but the first floor and first storey are different, first storey being an-   and in quality, or it may imply differences, provided that the imitation gives
other name for ground storey, but the first floor being above it. In houses        a fairly true likeness of the original. A copy is a reproduction of something
other than the one-storied there are:                                              else often without the exact correspondence which belongs to a duplicate.
    (1) sometimes cellars (underground, and not used for habitation); (2) some-    Transcript applies only to a copy made directly from an original.
times a basement (partly or all underground, and used for habitation); (3) the     SHADE see COLOUR
first or ground storey, or ground floor; (4) sometimes a mezzanine or entresol     SHOW, EXHIBIT, DISPLAY
(low, and not reckoned in numbering); (5) sometimes other storeys or floors               One shows anything which one enables another or others to see or to
numbered onwards from the preceding; (7) sometimes garrets or attics or lofts      look at, as by putting it forward into view intentionally or inadvertly or by
(with part of the upper room-space cut off by the roof).                           taking another where he may see it.
        The words garret and attic mean the same thing, but the former is                 One exhibits anything which one puts forward prominently or openly,
usually chosen when poverty, squalor etc., are to be suggested. Loft gener-        either with the express intention or with the result of attracting others' attention
ally means "an attic open to the rafters" and a space not occupied by human        or inspection, as, to exhibit the museum's collection of Whistler engravings.
beings, but used for storing things.                                                      One displays anything that one spreads out before the view of others
FRONT see BACK                                                                     or puts it in a position where it can be seen to advantage or with great clear-
HUE see COLOUR                                                                     ness; as, in the exhibition of pictures was criticised because the best paint-
PAINTER, ARTIST                                                                    ings were not properly displayed.
       A painter is (a) one who puts-paint on walls, ships, sides, etc.; (b) one   SKILL see ART
who paints pictures. A painter of pictures would not usually speak of him-         STOREY see FLOOR
self or another of his craft as an artist, thereby implicitly claiming a mo-       STRUCTURE see BUILDING
nopoly for his profession of a word that includes also writers, musicians,         TINGE see COLOUR
sculptors, etc. Artist used for one who practices the profession of painting is    TINT see COLOUR
a genteelism. A painter of pictures may not be an artist. On the other hand        TRANSCRIPT see REPRODUCTION
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