The literary works [&c.]. In which is included a memoir by J. Farington, Volum 3 |
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Side 13
... equal num- ber of lines , he produced a version , which ( if it was ever read through by any person except myself ) is now totally forgotten . Nevertheless I must do him the justice to own , that he understood the original text ; that ...
... equal num- ber of lines , he produced a version , which ( if it was ever read through by any person except myself ) is now totally forgotten . Nevertheless I must do him the justice to own , that he understood the original text ; that ...
Side 27
... equal fame , Alternate change their office and their name ; Bid silent Poetry the canvass warm , 5 The tuneful page with speaking picture charm . What to the ear sublimer rapture brings , That strain alone the genuine Poet sings ; That ...
... equal fame , Alternate change their office and their name ; Bid silent Poetry the canvass warm , 5 The tuneful page with speaking picture charm . What to the ear sublimer rapture brings , That strain alone the genuine Poet sings ; That ...
Side 43
... equal pride ; And so arrange each correspondent side , Sed quædam in diversa trahant contraria membra , 140 Transverséque aliis pugnent , et cætera frangant . Pluribus adversis aversam oppone figuram , Pectoribusque humeros , et dextera ...
... equal pride ; And so arrange each correspondent side , Sed quædam in diversa trahant contraria membra , 140 Transverséque aliis pugnent , et cætera frangant . Pluribus adversis aversam oppone figuram , Pectoribusque humeros , et dextera ...
Side 57
... equal hue ; 371 Dedecori fuit unquam ; illi sed semper honori , 265 Laudibus et meretis ; hanc ergo nosse juvabit . Lux varium , vivumque dabit , nullum umbra , co- lorem . Quo magis adversum est corpus , lucique propin- quum . Clarius ...
... equal hue ; 371 Dedecori fuit unquam ; illi sed semper honori , 265 Laudibus et meretis ; hanc ergo nosse juvabit . Lux varium , vivumque dabit , nullum umbra , co- lorem . Quo magis adversum est corpus , lucique propin- quum . Clarius ...
Side 61
... equal Lights in the 310 a XXXIII . Non duo ex cœlo Lumina in tabulam æ- There where the noblest figures are display'd ; Thence gild Picture . qualia . THE ART OF PAINTING . 61 There must not be two equal Lights in the Picture **
... equal Lights in the 310 a XXXIII . Non duo ex cœlo Lumina in tabulam æ- There where the noblest figures are display'd ; Thence gild Picture . qualia . THE ART OF PAINTING . 61 There must not be two equal Lights in the Picture **
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The literary works [&c.]. In which is included a memoir by J. Farington, Volum 1 sir Joshua Reynolds Uten tilgangsbegrensning - 1819 |
Vanlige uttrykk og setninger
admirable Æneas Aged Principal Albert Durer ancient Andrea Antonio Antwerp Apelles appear ART OF PAINTING Artist atque Bagnacavallo beauty Bologna History called Caracci Caravaggio charms colorum colours composition Correggio detto Domenichino Domenico drapery Epic expression figures finishing forms Francesco Fresnoy genius Giacomo Giottino Giov Giovanni Girolamo give glow grace Guercino Guido hand Hannibal hero History Bologna History Florence History History Rome idea Il Bronzino imitated judgement Julio Romano Landsc light and shade Ludovico Carracci manner Master Michael Angelo mind nature noble NOTE ornamental Painted Country Painter Parma passions Paul Brill Paul Veronese perfect Perin del Vaga picture Pietro Pietro Perugino pleasing Poem Poet Poetry Portraits precept Prospero Fontana quæ Quæque Rafaëlle Raffaelle Rome Rubens rules Sculpture shadow Sienna Studied under Excelled style tabula taste things Tintoret tints tion Titian Tragedy translation Udina Venice Veronese VERSE Virgil whole
Populære avsnitt
Side 255 - They present us with images more perfect than the life in any individual, and we have the pleasure to see all the scattered beauties of nature united by a happy chemistry without its deformities or faults. They are imitations of the passions which always move, and therefore consequently please ; for without motion there can be no delight, which cannot be considered but as an active passion. When we view these elevated ideas of nature, the result of that view is admiration, which is always the cause...
Side 269 - 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 289 - 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 254 - ... since a true knowledge of nature gives us pleasure, a lively imitation of it, either in poetry or painting, must of necessity produce a much greater: for both these arts . . . are not only true imitations of nature, but of the best nature, of that which is wrought up to a nobler pitch.
Side 72 - The portrait claims from imitative art Resemblance close in each minuter part, 540 And this to give, the ready hand and eye With playful skill the kindred features ply ; From part to part alternately convey The harmonizing gloom, the darting ray, With tones so just, in such gradation thrown, 545 Adopting Nature owns the work her own. 0 Say, is the piece thy hand prepares to trace Ordain...
Side 216 - Poem. There is a charm in that great writer's prose peculiar to itself; and though, perhaps, the parallel between the two arts, which he has here drawn, be too superficial to stand the test of strict criticism, yet it will always give pleasure to readers of taste, even when it fails to satisfy their judgment.
Side 286 - 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 35 - Then let the virgin canvass smooth expand, To claim the sketch, and tempt the Artist's hand. I wish to understand the last line as recommending to the artist to paint the sketch previously on canvass, as was the practice with Rubens. This method of painting the sketch, instead of merely drawing it on paper, will give a facility in the management of colours, and in the handling, which the Italian...
Side 148 - L 2 the picture, leaving the white paper untouched to represent the light, and this without any attention to the subject, or to the drawing of the figures.
Side 149 - ... on every side, it will appear as if inlaid on its ground. Such a blotted paper, held at a distance from the eye, will strike the spectator as something excellent for the disposition of light and shadow, though he does not distinguish whether it is a history, a portrait, a landscape, dead game, or any thing else ; for the same principles extend to every branch of the art. Whether I have given an exact account, or made a just division of the quantity of light admitted into the works of those painters,...