The DiscoursesScott, 1887 - 283 sider |
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Side v
... Raffaelle , Michel Angelo , those two extraordinary men compared with each other . The characteristical style . - Salvator Rosa mentioned as an example of that style ; and opposed to Carlo Maratti . - Sketch of the characters of Poussin ...
... Raffaelle , Michel Angelo , those two extraordinary men compared with each other . The characteristical style . - Salvator Rosa mentioned as an example of that style ; and opposed to Carlo Maratti . - Sketch of the characters of Poussin ...
Side xii
... Raffaelle ( of whose works he had till then seen nothing ) , a love he cherished until the end of his days . At seventeen his liking for art showing no diminu- tion , the father decided he should follow a painter's career , and took him ...
... Raffaelle ( of whose works he had till then seen nothing ) , a love he cherished until the end of his days . At seventeen his liking for art showing no diminu- tion , the father decided he should follow a painter's career , and took him ...
Side xiv
... Raffaelle , and would not believe that they had already passed through the rooms where they are preserved ; so little impression had these performances made on them . One of the first painters in France told me that this circumstance ...
... Raffaelle , and would not believe that they had already passed through the rooms where they are preserved ; so little impression had these performances made on them . One of the first painters in France told me that this circumstance ...
Side xvi
... Raffaelle's genius . I flatter myself that now it would be so , and that I have a just perception of his great powers ; but let it be remembered that the excellence of his style is not on the surface , but lies deep , and at the first ...
... Raffaelle's genius . I flatter myself that now it would be so , and that I have a just perception of his great powers ; but let it be remembered that the excellence of his style is not on the surface , but lies deep , and at the first ...
Side xvii
... Raffaelle would have treated this subject , and work yourself into a belief that your picture is to be seen and criticised by them when com- pleted ; even an attempt of this kind will raise your powers . " We all must have experienced ...
... Raffaelle would have treated this subject , and work yourself into a belief that your picture is to be seen and criticised by them when com- pleted ; even an attempt of this kind will raise your powers . " We all must have experienced ...
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Vanlige uttrykk og setninger
acquired admiration advantage Albert Durer ancient appear artist attention Carlo Maratti character Claude Lorrain colour composition considered copy Correggio criticism defects degree dignity discourse disposition distinguished drapery drawing dress Edited effect elegance endeavour equally Ernest Rhys excellence expression figure finished Gainsborough genius give grace grandeur habit highest imagination imitation instance invention Joseph Skipsey judgment justly kind labour light and shadow manner Masaccio masters means merit method Michel Angelo mind minute modern nature necessary never object observed opinion ornaments painters painting particular passions Paul Veronese peculiar Pellegrino Tibaldi perfection perhaps picture Pietro Perugino poetry portraits possessed Poussin practice principles proceed produced Raffaelle rank reason recommend Rembrandt Reynolds Royal Academy Rubens rules Sculpture sense Sergius Paulus simplicity Sir Joshua spectator Students style suppose taste things thought tion Titian true truth variety Venetian Venetian school vulgar whole wish
Populære avsnitt
Side 30 - There is no excellent Beauty that hath not some strangeness in the proportion. 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 27 - The gusto grande of the Italians, the beau ideal of the French, and the great style, genius, and taste among the English, are but different appellations of the same thing. It is this intellectual dignity...
Side 228 - ... defrauded of the due reward of his merit by the wits of his time who did not understand the principles of composition in poetry better than he, and who knew little or nothing of what he understood perfectly, the general ruling principles of architecture and painting.
Side 216 - Such men will always prefer imitation to that excellence which is addressed to another faculty that they do not possess; but these are not the persons to whom a painter is to look, any more than a judge of morals and manners ought to refer controverted points upon those subjects to the opinions of people taken from the banks of the Ohio, or from New Holland.
Side 272 - Angelo; with all the rest of the cant of Criticism, which he emitted with that volubility which generally those orators have, who annex no ideas to their words. As we were passing through the rooms, in our way to the Gallery, I made him observe a whole length of Charles the First, by...
Side 29 - It must be an eye long used to the contemplation and comparison of these forms ; and which, by a long habit of observing what any set of objects of the same kind have in common, has acquired the power of discerning what each wants in particular.
Side 153 - To what Falconet has said, we may add that supposing this method of leaving the expression of grief to the imagination to be, as it was thought to be, the invention of the painter, and that it deserves all the praise that has been given it, still it is a trick that will serve but once; whoever does it a second time will not only want novelty, but be justly suspected of using artifice to evade difficulties. If difficulties overcome make a great part of the merit of art, difficulties evaded can deserve...
Side 244 - His handling, the manner of leaving the colours, or, in other words, the methods he used for producing the effect, had very much the appearance of the work of an artist who had never learned from others the usual and regular practice belonging to the art ; but still, like a man of strong intuitive perception of what was required, he found out a way of his own to accomplish his purpose.
Side 97 - Study therefore the great works of the great masters, for ever. Study as nearly as you can, in the order, in the manner, and on the principles, on which they studied. Study nature attentively, but always with those masters in your company ; consider them as models which you are to imitate, and at the same time as rivals with whom you are to contend.
Side 282 - ... but, because it is uncommon, is it therefore beautiful? The beauty that is produced by colour, as when we prefer one bird to another, though of the same form, on account of its colour, has nothing to do with this argument, which reaches only to form. I have here considered the word beauty as being properly applied to form alone.