 | Alexander Chalmers - 1814 - 548 sider
...than what generally attends a dead colour as to finishing or determining the form of the features ; but, " as he was always attentive to the general effect, or whole together, I have often imagined (says he) that this unfinished manner contributed even to that striking resemblance for which his portraits... | |
 | Alexander Chalmers - 1814 - 544 sider
...as he was always attentive to the general etfect, or whole together, I have often imagined (says he) that this unfinished manner contributed even to that...resemblance for which his portraits are so remarkable. At the same time it must be acknowledged that there is one evil attending this mode ; that if the portrait... | |
 | Sir Joshua Reynolds - 1819 - 446 sider
...consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or any of the particular parts. Now...attentive to the general effect, or whole together, J have often imagined that this unfinished manner contributed even to that striking resemblance for... | |
 | Sir Joshua Reynolds - 1824 - 324 sider
...consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or •any of the particular parts. Now...which his portraits are so remarkable. Though this opinion•may be considered as fanciful, yet I think a plausible reason maybe given, why such a mode... | |
 | Matthew Pilkington - 1829 - 586 sider
...than what generally attends a dead colour, as to finishing or determining the form of the features; but as he was always attentive to the general effect or whole together, this unfinished manner appeared to contribute even to the striking resemblance for which his portraits... | |
 | Matthew Pilkington - 1840 - 794 sider
...more than what generally attends a dead colour, as to finishing or determining the form the features; but as he was always attentive to the general effect or whole together, this unfinished manner appeared to contribute even to the striking resemblance for which his portraits... | |
 | George Williams Fulcher - 1856 - 266 sider
...consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or any of the particular parts. Now...resemblance for which his portraits are so remarkable.! * * * "Every artist has some favourite part, on which he fixes his attention, and which he pursues... | |
 | Sir Joshua Reynolds, Allan Cunningham - 1860 - 398 sider
...consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or any of the particular parts. Now,...of the features, than what generally attends a dead color; but as he was always attentive to the general effect, or whole together, I have often imagined... | |
 | Sir Joshua Reynolds - 1887 - 330 sider
...consists more, in preserving the general effect of the countenance than in the most minute finishing of the features, or any of the particular parts. Now...form of the features, than what generally attends a rlead colour ; but as he was always attentive to the general effect, or whole together, I have often... | |
 | Sir Walter Armstrong - 1904 - 404 sider
...consists more in preserving the general effect of the countenance than in the most minute finishing of the features, or any of the particular parts. Now...that striking resemblance for which his portraits were so remarkable." And then he goes on, characteristically enough, to suggest that Gainsborough's... | |
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The likeness of a portrait, as I have formerly observed, consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or •any of the particular parts. Now Gainsborough's portraits were often little... 
