For nature lovers and art enthusiasts alike, Art Out-of-Doors is a delightful guide to the beauty and inspiration of the natural world. Written by Mrs. Schuyler Van Rensselaer, a noted art critic and historian, this book explores the ways in which artists throughout history have been inspired by landscapes, seascapes, and the changing seasons. Filled with new insights and fascinating tidbits, this book is a must-read for anyone who loves the outdoors or the arts. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1893 edition. Excerpt: ... XIII Four Trees "There is, I conceive, scarcely any tree that may not be advantageously used in the various combinations of form and color."--Gilpin. XIII NOWLEDGE and good taste must help in the grouping of trees, whatever they are and wherever they stand, if the result is to be artistically good. But, of course, the more peculiar a tree is in form or color, the more unlike the trees which chiefly compose the picture in which it is to stand, the more carefully should the laws of harmony, of simplicity, of proper emphasis and agreeable contrast be consulted on its behalf, or, rather, on behalf of the picture as a whole. Four trees with which we are very familiar are conspicuously peculiar: the Lombardy poplar, the weeping willow, the purple or copper beech, and the white birch. No tree is more useful in the right place or more ugly in the wrong place than the Lombardy poplar. One of Nature's "sports," never reproducing itself from seed, but easy of reproduction by the gardener, it is now an old friend of the people of every European land. In America we do not see it so often, although our fathers dearly loved to plant it. It has suffered much from disease in recent years, and, moreover, the canons of such gardening taste as we possess say that its formality is inappropriate in naturalistic landscapescenes. Standing alone in the centre of a naturalistic landscape, this tall, narrow, and rigid tree does indeed look out of place, and almost as sadly out of place if carelessly introduced among groups of other trees. Its qualities are distinctly architectonic; but when we recognize this it is not hard to imagine good stations for it. In a narrow city street, for instance, where much shade is not wanted, it would look extremely well, for its...

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Art Out-of-Doors: Hints on Good Taste in Gardening I hope that no one will open my little book thinking that its title means Every Man His Own Landscape Gardener. A book justifying this name could never be written, and none conceived in its spirit ought ever to be attempted. Practical treatises for artists' and students' use are, of course, another matter; but it was not for me to try to add to the number of these. All I have wished to do is to say a friendly word to the public on behalf of gardening as an art - not attempting to speak of all its phases and problems, or to speak exhaustively of any among them, but simply to plead the cause of good taste by showing why this art should be practised and judged as are arts of other kinds. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

A critical contribution to the burgeoning field of Spanish colonial art, Behind Closed Doors reveals how art and luxury goods together signaled the identity and status of Spanish Americans struggling to claim their place in a fluid New World hierarchy. By the early sixteenth century, the Spanish practice of defining status through conspicuous consumption and domestic display was established in the Americas by Spaniards who had made the transatlantic crossing in search of their fortunes. Within a hundred years, Spanish Americans of all heritages had amassed great wealth and had acquired luxury goods from around the globe. Nevertheless, the Spanish crown denied the region’s new moneyed class the same political and economic opportunities as their European-born counterparts. New World elites responded by asserting their social status through the display of spectacular objects at home as pointed reminders of the empire’s dependence on silver and other New World resources. The private residences of elite Spaniards, Creoles (American-born white Spaniards), mestizos, and indigenous people rivaled churches as principal repositories for the fine and decorative arts. Drawing principally on the Brooklyn Museum’s renowned colonial holdings, among the country’s finest, this book presents magnificent domestic works in a broad New World (Spanish and British) context. In the essays within, the authors lead the reader through the elite Spanish American home, illuminating along the way a dazzling array of both imported and domestic household goods. There, visitors would encounter European-inspired portraiture, religious paintings used for private devotion and also as signifiers of status, and objects that spoke to the owner’s social and racial identity.