The Flemish, Dutch and German Schools of PaintingJ. Murray, 1822 - 404 sider |
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The Flemish, Dutch and German Schools of Painting, Volum 8 John Thomas James Uten tilgangsbegrensning - 1822 |
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Abraham admiration Adrian afterwards Albert Durer Alcmaer amongst Amster Amsterdam Antony Antwerp Antwerp-fl artists Augsburg Berghem born Brauwer Breughel brother Bruges Brussels celebrated Charles chiefly churches colors compositions Cornelius court Delft designs Dirck Dresden-b duchy of Cleves Duke Dutch and Flemish Dutch school Elector Elector Palatine employed England engraver engraver-b excellence Eyck father feeling figures Flemish and Dutch florins flowers Francis Frankfort Gall Gaspar Gerard Germany Ghent Gouda Haarlem Hague Henry history-b Holland imitated Italian Italy Jacques Jean Johann John King landscape landscape-b Leyden lived London manner master Matthew Mechlin merit Mieris Munich native nature Nicolas Nuremberg painted painter Paris pencil Peter pieces plafonds portrait painter portrait-b Prince profession Rembrandt reputation residence returned Rome Rotterdam Rubens sacred history scape scholar seems settled sterdam studies style subjects success talent taste Teniers tion Titian Utrecht vander Vandyke Venice Vienna werp
Populære avsnitt
Side 263 - Hark, his hands the lyre explore! Bright-eyed Fancy, hovering o'er, Scatters from her pictured urn Thoughts that breathe, and words that burn.
Side 161 - The difference of the manner of Rubens, from that of any other painter before him, is in nothing more distinguishable, than in his colouring, which is totally different from that of Titian, Correggio, or any of the great colourists.
Side 161 - Correggio, or any of the great colourists. The effect of his pictures may be not improperly compared to clusters of flowers; all his colours appear as clear and as beautiful : at the same time he has avoided that tawdry effect which one would expect such gay colours to produce: in this respect resembling Barocci more than any other painter. What was said of an ancient painter, may be applied to those two artists, — that their figures look as if they fed upon roses.
Side 160 - Rubens in these general powers, he possessed the true art of imitating. He saw the objects of nature with a painter's eye ; he saw at once the predominant feature by which every object is known and distinguished : and as soon as seen, it was executed with a facility that is astonishing ; and, let me add, this facility is to a painter, when he closely examines a picture, a source of great pleasure.
Side 160 - Rubens was, perhaps, the greatest master in the mechanical part of the art, the best workman with his tools, that ever exercised a pencil.
Side 161 - Among those we may reckon beauty in his female characters : sometimes indeed they make approaches to it; they are healthy and comely women, but seldom, if ever, possess any degree of elegance: the same may be said of his young men and children: his old men have that sort of dignity which a bushy beard will confer ; but he never possessed a poetical conception of character. In his representations of the highest characters in the Christian or th...
Side 159 - The works of Rubens have that peculiar property always attendant on genius, to attract attention, and enforce admiration in spite of all their faults. It is owing to this fascinating power that the performances of those painters with which he is surrounded, though they have perhaps fewer defects, yet appear spiritless, tame, and insipid ; such as the altar-pieces of Grayer, Schut, Seghers, Huysum, Tyssens, Van Balen, and the rest.
Side 159 - It is only in large compositions that his powers seem to have room to expand themselves. They really increase in proportion to the size of the canvas on which they are to be displayed.
Side 160 - Rubens, on the contrary, seem to flow with a freedom and prodigality, as if they cost him nothing ; and to the general animation of the composition there is always a correspondent spirit in the execution of the work. The striking brilliancy of his colours, and their lively opposition to each other ; the flowing liberty and freedom of his outline ; the animated pencil with which every object is touched, — all contribute to awaken and keep alive the attention of the spectator ; awaken in him, in...
Side 160 - Ovid should be censured because he is not like Virgil. However, it must be acknowledged that he wanted many excellencies which would have perfectly united with his style. Among...