The Works of Sir Joshua Reynolds, Knight ...: Containing His Discourses, Idlers, A Journey to Flanders and Holland, and His Commentary on Du Fresnoy's Art of Painting, Volum 1T. Cadell, Jr. and W. Davies, 1801 |
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Side xxxi
... composition may be acquired ; and when acquired , the artist may then lawfully take hints from his pre- decessors . In reality indeed it appears to me , that a man must begin by the study of others . Thus Bacon became a great thinker by ...
... composition may be acquired ; and when acquired , the artist may then lawfully take hints from his pre- decessors . In reality indeed it appears to me , that a man must begin by the study of others . Thus Bacon became a great thinker by ...
Side 24
... simple and obvious rules of composition . This first degree of proficiency is , in painting , what grammar is in literature , a general preparation for whatever species of the art the student 24 THE SECOND DISCOURSE .
... simple and obvious rules of composition . This first degree of proficiency is , in painting , what grammar is in literature , a general preparation for whatever species of the art the student 24 THE SECOND DISCOURSE .
Side 31
... composition , even of those which are most admired , a great part may be truly said to be common- place . This , though it takes up much time in copying , conduces little to improvement . I consider general copying as a delusive kind of ...
... composition , even of those which are most admired , a great part may be truly said to be common- place . This , though it takes up much time in copying , conduces little to improvement . I consider general copying as a delusive kind of ...
Side 32
... composition which ought particularly to be called out , and put in action , lie torpid , and lose their energy for want of exercise . How incapable those are of producing any thing of their own , who have spent much of their time in ...
... composition which ought particularly to be called out , and put in action , lie torpid , and lose their energy for want of exercise . How incapable those are of producing any thing of their own , who have spent much of their time in ...
Side 64
... compositions with figures of various forms and propor- tions , though he is never to lose sight of the general idea of perfection in each kind . There is , likewise , a kind of fymmetry , or proportion , which may properly be said to ...
... compositions with figures of various forms and propor- tions , though he is never to lose sight of the general idea of perfection in each kind . There is , likewise , a kind of fymmetry , or proportion , which may properly be said to ...
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The Works of Sir Joshua Reynolds: Knight ... Containing His ..., Volum 1 Sir Joshua Reynolds,Edmond Malone Uten tilgangsbegrensning - 1801 |
The Works of Sir Joshua Reynolds: Knight; ... Containing His Discourses ... Sir Joshua Reynolds,Edmond Malone Uten tilgangsbegrensning - 1798 |
Vanlige uttrykk og setninger
acquired admirable afterwards Albert Durer ancient appear artist attain attention Burke called Carlo Maratti character Claude Lorrain colouring composition considered contrary copy Correggio critick defects dignity DISCOURSE distinguished drapery drawing dress Duke Earl Edmond Malone effect elegance endeavour equal excellence exhibited expression figures genius gentlemen give grace Gwatkin habit honour imagination imitation Inchiquin invention Jervais Johnson judgement justly kind labour Lælius learned light Lodovico Caracci Lord manner masters means ment merit Michael Angelo mind models modern nature never object observed opinion ornaments painter painting passions Paul Veronese peculiar Pellegrino Tibaldi perfection picture pleasure poet portraits possessed Poussin practice prejudices principles produced publick racter Raffaelle reason Rembrandt ROYAL ACADEMY Rubens rules schools simplicity Sir Joshua Reynolds spectator Students style suppose taste thing thought tion Titian truth ture Vandyck variety Venetian Venetian School whole
Populære avsnitt
Side lxxxvi - Here Reynolds is laid, and, to tell you my mind, He has not left a wiser or better behind ; His pencil was striking, resistless, and grand ; His manners were gentle, complying, and bland ; Still born to improve us in every part, His pencil our faces, his manners our heart...
Side 55 - A man cannot tell, whether Apelles or Albert Durer were the more trifler; whereof the one would make a personage by geometrical proportions, the other by taking the best parts out of divers faces to make one Excellent.
Side 64 - He will permit the lower painter, like the florist or collector of shells, to exhibit the minute discriminations, which distinguish one object of the same species from another ; while he, like the philosopher, will consider nature in the abstract, and represent in every one of his figures the character of its species.
Side 52 - All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects.
Side 187 - To understand literally these metaphors, or ideas expressed in poetical language, seems to be equally absurd as to conclude that because painters sometimes represent poets writing from the dictates of a little winged boy or genius, that this same genius did really inform him in a whisper what he was to write; and that he is himself but a mere machine, unconscious of the operations of his own mind.
Side xxvii - their excellence and their value consisted in being the observations of a strong mind operating upon life ; and in consequence you find there what you seldom find in other books.
Side xvi - I found myself in the midst of works executed upon principles with which I was unacquainted : I felt my ignorance and stood abashed. All the indigested notions of painting which I had brought with me from England, where the art was in the lowest state it had ever been in, (it could not indeed be lower,) were to be totally done away, and eradicated from my mind. It was necessary, as it is expressed on a very solemn occasion, J that I should become as a little child.
Side 7 - I WOULD chiefly recommend, that an implicit obedience to the Rules of Art, as established by the practice of the great MASTERS, should be exacted from the young Students., That those models, which have passed through the approbation of ages, should be considered by them as perfect and infallible guides; as subjects for their imitation, not their criticism.
Side 73 - HE value and rank of every art is in proportion to the mental labour employed in it, or the mental pleasure produced by it. As this principle is observed or neglected, our profession becomes either a liberal art, or a mechanical trade.
Side 61 - Painting; the painter must never mistake this capricious changeling for the genuine offspring of nature; he must divest himself of all prejudices in favour of his age or country; he must disregard all local and temporary ornaments, and look only on those general habits which are every where and always the same.