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 7
... kind that has either preceded or followed it ; yet as it was published about the middle of the seventeenth century , many of the precepts it contains have been so frequently re- peated by later writers , that they have lost the air of ...
... kind that has either preceded or followed it ; yet as it was published about the middle of the seventeenth century , many of the precepts it contains have been so frequently re- peated by later writers , that they have lost the air of ...
Side 97
... kind , let me be permitted here to recommend to the artist to talk as little as possible of his own works , much less to praise them ; and this not so much for the sake of avoid- ing the character of vanity , as for keeping clear of a ...
... kind , let me be permitted here to recommend to the artist to talk as little as possible of his own works , much less to praise them ; and this not so much for the sake of avoid- ing the character of vanity , as for keeping clear of a ...
Side 117
... kind the artist has shown the greatest skill in disposing and contrasting more than twenty figures without confusion and without crowding ; the whole appearing as much animated and in motion as it is possible , where nothing is to be ...
... kind the artist has shown the greatest skill in disposing and contrasting more than twenty figures without confusion and without crowding ; the whole appearing as much animated and in motion as it is possible , where nothing is to be ...
Side 123
... kind of pedantry which young painters are very apt to fall into , as it carries with it a relish of the learning acquired from the ancient statues ; but they should recollect there is not the same necessity for this practice in painting ...
... kind of pedantry which young painters are very apt to fall into , as it carries with it a relish of the learning acquired from the ancient statues ; but they should recollect there is not the same necessity for this practice in painting ...
Side 130
... kind , there should be one of each which should be apparently principal , and predo- minate over the rest . It must be observed , even in drapery ; two folds of the same drapery must not be of equal magnitude . R. NOTE XXXIX . VERSE 421 ...
... kind , there should be one of each which should be apparently principal , and predo- minate over the rest . It must be observed , even in drapery ; two folds of the same drapery must not be of equal magnitude . R. NOTE XXXIX . VERSE 421 ...
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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
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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.