The Complete Works of Sir Joshua Reynolds: First President of the Royal Academy : with an Original Memoir, and Anecdotes of the Author, Volum 3T. M'Lean, 1824 |
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Side 32
... effect is grace . * Vivid and faithful to the historic page , Express the customs , manners , forms , and age ; 120 + Nor paint conspicuous on the foremost plain Whate'er is false , impertinent , or vain ; But like the Tragic Muse , thy ...
... effect is grace . * Vivid and faithful to the historic page , Express the customs , manners , forms , and age ; 120 + Nor paint conspicuous on the foremost plain Whate'er is false , impertinent , or vain ; But like the Tragic Muse , thy ...
Side 99
... effect from allusion to circumstances not actually present . An instance occurs to me of a subject which was recommended to a painter by a very distinguished person , but who , as it appears , was but little conversant with the art ; it ...
... effect from allusion to circumstances not actually present . An instance occurs to me of a subject which was recommended to a painter by a very distinguished person , but who , as it appears , was but little conversant with the art ; it ...
Side 102
... effect of light and shadow , and the attitude of every figure or animal that is introduced or makes a part of the work . Composition , which is the principal part of the Invention of a painter , is by far the greatest difficulty he has ...
... effect of light and shadow , and the attitude of every figure or animal that is introduced or makes a part of the work . Composition , which is the principal part of the Invention of a painter , is by far the greatest difficulty he has ...
Side 111
... effects of perspective . The folly of this needs no comment . I shall only observe , by the way , that the fact is not true , the figures on that pillar being all of the same dimensions . R. NOTE XXI . VERSE 163 . Yet deem not , Youths ...
... effects of perspective . The folly of this needs no comment . I shall only observe , by the way , that the fact is not true , the figures on that pillar being all of the same dimensions . R. NOTE XXI . VERSE 163 . Yet deem not , Youths ...
Side 117
... of Titian . The excellence of Rubens is the picturesque effect which he produces . The superior merit of Titian is in the appearance of being above seeking after any such artificial ex- cellence . ART OF PAINTING . 117.
... of Titian . The excellence of Rubens is the picturesque effect which he produces . The superior merit of Titian is in the appearance of being above seeking after any such artificial ex- cellence . ART OF PAINTING . 117.
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The Complete Works of Sir Joshua Reynolds, First President of the ..., Volum 3 Sir Joshua Reynolds Uten tilgangsbegrensning - 1824 |
The Complete Works of Sir Joshua Reynolds: First President of the ..., Volum 3 Sir Joshua Reynolds Uten tilgangsbegrensning - 1824 |
The Complete Works Of Sir Joshua Reynolds: First President Of The Royal ... Sir Joshua Reynolds Ingen forhåndsvisning tilgjengelig - 2018 |
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action admirable Æneas Albert Durer amongst ancient Annibale Annibale Caracci Apelles appear Aristotle ART OF PAINTING artis artist atque beauty betwixt bright called canvass Caracci charms colorum colours compass composition Corpora Corregio disciple divine drapery Dryden epic epic poetry excellence expression face finishing forms Fresnoy Fresnoy's genius Geryon Giulio Romano give glow grace hæc hand harmony hero hues idea imitation Inque invention Jan Steen judgment labour light and shadow Lodovico Caracci Luminis majesty manner master Membra Michel Angelo mind Muse nature never noble NOTE o'er ornament painter Paolo Veronese passions perfect persons Phidias picture piece pleasing poem poet poetry portrait practice precept principal quæ Quæque racter Raffaelle Rubens rules sculpture shade sight single figure Sophocles spectator Statius style tabula taste things tints Titian tragedy translation true umbris Venice VERSE Virgil whole Zeuxis
Populære avsnitt
Side 228 - Preserved; but I must bear this testimony to his memory, that the passions are truly touched in it, though, perhaps there is somewhat to be desired both in the grounds of them, and in the height and elegance of expression ; but nature is there, which is the greatest beauty.
Side 218 - Having thus shewn that imitation pleases, and why it pleases in both these arts, it follows, that some rules of imitation are necessary to obtain the end ; for without rules there can be no art, any more than there can be a house without a door to conduct you into it.
Side 153 - In heroic subjects it will not, I hope, appear too great a refinement of criticism to say, that the want of naturalness, or deception of the art, which give to an inferior style its whole value, is no material disadvantage : the Hours, for instance, as represented by Julio Romano, giving provender to the horses of the Sun, would not strike the imagination more forcibly from their being coloured with the pencil of Rubens, though he would have represented them more naturally: but might he not possibly,...
Side 244 - Helen thy Bridgewater vie, And these be sung till Granville's Myra die : Alas ! how little from the grave we claim ! Thou but preserv'st a face, and I a name.
Side 4 - Then view this marble, and be vain no more ! Yet still her charms in breathing paint engage; Her modest cheek shall warm a future age. Beauty, frail flower ! that every season fears, Blooms in thy colours for a thousand years.
Side 218 - Without invention a painter is but a copier, and a poet but a plagiary of others. Both are allowed sometimes to copy and translate ; but, as our author tells you, that is not the best part of their reputation. " Imitators are but a servile kind of cattle...
Side 154 - ... the effect of the grand style; they would only contribute to the ease of the spectator, by making the vehicle pleasing by which ideas are conveyed to the mind, which otherwise might be perplexed and bewildered with a confused assemblage of objects ; they would add a certain degree of grace and sweetness to strength and grandeur. Though the merits of those two great Painters are of such transcendency, as to make us overlook their deficiency, yet a subdued attention to these inferior excellencies...
Side 30 - Est modus in rebus, sunt certi denique fines, Quos ultra citraque nequit consistere rectum.
Side 242 - Fir'd with ideas of fair Italy. With thee on Raphael's monument I mourn, Or wait inspiring dreams at Maro's urn : With thee repose where Tully once was laid, Or seek some ruin's formidable shade. While fancy brings the vanish'd piles to view, And builds imaginary Rome anew...
Side 220 - ... which are foreign to his Poem, and are naturally no parts of it : they are wens, and other excrescences,' which belong not to the body, but deform it. No person, no incident in the piece or in the play, but must be of use to carry on the main design. All things else are like six fingers to the hand, when nature, which is superfluous in nothing, can do her work with five. " A Painter must reject all trifling ornaments:" — so must a Poet refuse all tedious and unnecessary descriptions.