"Chiaroscuro" Quotes from Famous Books
 ... touches as bland as caresses of a pretty woman's fingers. He was sensible of drowsiness, a surrender to fatigue, to which the motion of the motor car, swung seemingly on velvet springs, and the shifting, blending chiaroscuro of the magic night were likewise conducive. So that there came a lessening of the tension of resentment ...
— Alias The Lone Wolf • Louis Joseph Vance
... adorned with festoons, and a thousand plump chairs, couches, and luxurious settees covered with linen of the same pattern, and with a bow-window commanding the prospect, and gloomed with limes that shade half each window, already darkened with painted glass in chiaroscuro, set in deep blue glass. Under this room is a cool little hall, where we generally dine, hung with ...
— The Letters of Horace Walpole, Volume 2 • Horace Walpole
... future, in which he lived, like all men of dominant ambition, far more than he lived in his present. It was a future brilliant, secure, brightening in its lustre, and strengthening in its power, with each successive year; a future which was not to him as to most wrapped in a chiaroscuro, with but points of luminance gleaming through the mist, but in whose cold glimmering light he seemed to see clear and distinct, as we see each object of the far-off landscape stand out in the air ...
— Wisdom, Wit, and Pathos of Ouida - Selected from the Works of Ouida • Ouida
... Fra Angelico in Florence, probably in recognition of the benefits bestowed by Cosimo on the monks of San Marco; moreover, we do not think the work could have been done at Fiesole after the first visit to Rome in 1452, because the figures, weak in chiaroscuro, are still treated as if they were enlarged miniatures, and do not show the character of his later works. On the other hand the picture of the Osservanza in Mugello displays the whole power of the artist, and may be compared, as Rio says, to the panel at San ...
— Fra Angelico • J. B. Supino
... The second Nicene Council had declared that "the designing of the holy images was not to be left to the invention of artists, but to the approved legislation and tradition of the Catholic Church." But now the Church had to take a great deal that it had not bargained for. Perspective, chiaroscuro, picturesque contrast and variety, and all that belongs to the show of things, without regard to what they are,—this is now the ...
— The Atlantic Monthly, Volume 13, No. 77, March, 1864 • Various |
