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 16
... imitating that excellent painter in his colouring , as he did Caracci in his design . About the year 1653 , he went with Mignard to Venice , and travelled throughout Lombardy ; and during his stay in that city painted a Venus for Signor ...
... imitating that excellent painter in his colouring , as he did Caracci in his design . About the year 1653 , he went with Mignard to Venice , and travelled throughout Lombardy ; and during his stay in that city painted a Venus for Signor ...
Side 82
... imitate by day ; 720 No rest , no pause , till , all her graces known , 725 A happy habit makes each grace your own . As years advance , to modern masters come , Gaze on their glories in majestic ROME ; 506 Dum vacua errorum , nulloque ...
... imitate by day ; 720 No rest , no pause , till , all her graces known , 725 A happy habit makes each grace your own . As years advance , to modern masters come , Gaze on their glories in majestic ROME ; 506 Dum vacua errorum , nulloque ...
Side 96
... imitation of given patterns before the theory of art can be felt . Thus we shall become ac- quainted with the necessities of the art , and the very great want of Theory , the sense of which want can alone lead us to take pains to ...
... imitation of given patterns before the theory of art can be felt . Thus we shall become ac- quainted with the necessities of the art , and the very great want of Theory , the sense of which want can alone lead us to take pains to ...
Side 114
... nature only , and not imitate her at second - hand , as many French painters do , who appear to take their ideas , not only of grace and dignity , but of emo- tion and passion , from their theatrical heroes ; which 114 NOTES ON THE.
... nature only , and not imitate her at second - hand , as many French painters do , who appear to take their ideas , not only of grace and dignity , but of emo- tion and passion , from their theatrical heroes ; which 114 NOTES ON THE.
Side 115
... imitating an imitation , and often a false or exaggerated imitation . NOTE XXIV . VERSE 181 . R. Fair in the front , in all the blaze of light , The Hero of thy piece should meet the sight . There can be no doubt that this figure should ...
... imitating an imitation , and often a false or exaggerated imitation . NOTE XXIV . VERSE 181 . R. Fair in the front , in all the blaze of light , The Hero of thy piece should meet the sight . There can be no doubt that this figure should ...
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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 |
Vanlige uttrykk og setninger
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.