The Library Magazine of Select Foreign Literature, Volum 4American Book Exchange, 1880 |
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Side 20
... Figure paint- ing culminated in Michael Angelo and Raphael nearly a century before the birth of Claude , who may ... figures , but few , if any , landscapes complete in themselves , having for their sole or main object the representation ...
... Figure paint- ing culminated in Michael Angelo and Raphael nearly a century before the birth of Claude , who may ... figures , but few , if any , landscapes complete in themselves , having for their sole or main object the representation ...
Side 21
... figures in the Sistine Chapel , the Madonna di San Sisto , the Transfigura- tion , and a few others , such as we are ... figure . It would be doing historical painting no injustice to describe its ultimate object as the expression of the ...
... figures in the Sistine Chapel , the Madonna di San Sisto , the Transfigura- tion , and a few others , such as we are ... figure . It would be doing historical painting no injustice to describe its ultimate object as the expression of the ...
Side 23
... figure , and that , pace Turner and Ruskin , it has not yet produced its Raphael or its Michael Angelo . Nor is this ... figure can be painted indoors , the model can be posed , the drapery can be hung on the lay - figure , the light can ...
... figure , and that , pace Turner and Ruskin , it has not yet produced its Raphael or its Michael Angelo . Nor is this ... figure can be painted indoors , the model can be posed , the drapery can be hung on the lay - figure , the light can ...
Side 26
... figure is , and further , the realism of the portrait , however great , is subdued by the greater realism and force of the surrounding objects - greater in proportion as nature's light is stronger than the artist's white paint . But ...
... figure is , and further , the realism of the portrait , however great , is subdued by the greater realism and force of the surrounding objects - greater in proportion as nature's light is stronger than the artist's white paint . But ...
Side 29
... figures , which were presentable in his early days , when he painted " A Frosty Morning , " became latterly quite intolerable . Mr. Ruskin of course defends them , and denounces the ignorance of those who would desire them to be made ...
... figures , which were presentable in his early days , when he painted " A Frosty Morning , " became latterly quite intolerable . Mr. Ruskin of course defends them , and denounces the ignorance of those who would desire them to be made ...
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admiration æsthetic artistic Austria Austria-Hungary Austrian language beauty Belemnite Book of Job Bosnia and Herzegovina Burns Byzantine Byzantine art called Catholics cause century character Chaucer Christian Church Cimabue classic clergy closet Dalmatia diamond doubt Duke of Austria emperor Empire England English Europe existence eyes façade fact feel France French German give hand Herodotus Hitopadesa horse human interest kill kind king labor land landscape art less live look Magyar Mark's matter means ment mind nation nature never once opinion ourselves painting passed perhaps poet poetic poetry political present question reason religion religious Republic republicans Russia sculpture seems sense speak spirit story suicide tale tank thief things Thoreau thought tion true truth village whole Wild Huntsman Wodan words Zadig
Populære avsnitt
Side 118 - I was confirmed in this opinion, that he who would not be frustrate of his hope to write well hereafter in laudable things, ought himself to be a true poem...
Side 122 - Tho' they may gang a kennin wrang, To step aside is human : One point must still be greatly dark, The moving Why they do it ; And just as lamely can ye mark, How far perhaps they rue it. Who made the heart, 'tis He alone Decidedly can try us, He knows each chord its various tone, Each spring its various bias : Then at the balance let's be mute, We never can adjust it ; What's done we partly may compute, But know not what's resisted.
Side 123 - Had we never loved sae kindly, Had we never loved sae blindly, Never met, or never parted, We had ne'er been broken-hearted.
Side 122 - Faith, he maunna fa' that! For a' that, and a' that; Their dignities, and a' that, The pith o' sense, and pride o' worth, Are higher ranks than a' that. Then let us pray that come it may,— As come it will for a' that,— That sense and worth, o'er a' the earth, May bear the gree, and a
Side 104 - Our religion has materialised itself in the fact, in the supposed fact; it has attached its emotion to the fact, and now the fact is failing it. But for poetry the idea is everything ; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is the fact. The strongest part of our religion to-day is its unconscious poetry.
Side 111 - Led on the eternal Spring. Not that fair field Of Enna, where Proserpine gathering flowers, Herself a fairer flower by gloomy Dis Was gathered, which cost Ceres all that pain To seek her through the world...
Side 337 - ... assert Eternal Providence, and justify the ways of God to man.
Side 57 - To be what we are, and to become what we are capable of becoming, is the only end of life.
Side 59 - I know this well, that if one thousand, if one hundred, if ten men whom I could name, — if ten honest men only, — ay, if one HONEST man, in this State of Massachusetts, ceasing to hold slaves, were actually to withdraw from this copartnership, and be locked up in the county jail therefor, it would be the abolition of slavery in America.
Side 121 - Scripture, They raise a din that in the end Is like to breed a rupture O' -wrath that day. Leeze me on drink! it gies us mair Than either school or college; It kindles wit, it waukens lear, It pangs us fou o