The literary works [&c.]. In which is included a memoir by J. Farington, Volum 1 |
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Side 45
... hard to settle . We are sure that it is expressing the general effect of the whole , which alone can give to objects their true and touching character ; and wherever this is observed , whatever else may be neglected , we acknowledge the ...
... hard to settle . We are sure that it is expressing the general effect of the whole , which alone can give to objects their true and touching character ; and wherever this is observed , whatever else may be neglected , we acknowledge the ...
Side 46
... of flesh by the soft- ness of wax , seems rude and inartificial , and creates no grateful surprise . But to express distances on a plain surface , soft- ness by hard bodies , and particular colour- ing by 46 THE ELEVENTH DISCOURSE .
... of flesh by the soft- ness of wax , seems rude and inartificial , and creates no grateful surprise . But to express distances on a plain surface , soft- ness by hard bodies , and particular colour- ing by 46 THE ELEVENTH DISCOURSE .
Side 47
sir Joshua Reynolds Edmond Malone. ness by hard bodies , and particular colour- ing by materials which are not singly of that colour , produces that magic which is the prize and triumph of art . Carry this principle a step further . Sup ...
sir Joshua Reynolds Edmond Malone. ness by hard bodies , and particular colour- ing by materials which are not singly of that colour , produces that magic which is the prize and triumph of art . Carry this principle a step further . Sup ...
Side 55
... bluntness that is found in natural objects . This extreme softening , instead of producing the effect of softness , gives the appearance of ivory , or some other hard substance , highly polished . The E 4 THE ELEVENTH DISCOURSE . 55.
... bluntness that is found in natural objects . This extreme softening , instead of producing the effect of softness , gives the appearance of ivory , or some other hard substance , highly polished . The E 4 THE ELEVENTH DISCOURSE . 55.
Side 56
sir Joshua Reynolds Edmond Malone. or some other hard substance , highly polished . The portraits of Cornelius Jansen appear to have this defect , and consequently want that suppleness which is the characteristick of flesh ; whereas , in ...
sir Joshua Reynolds Edmond Malone. or some other hard substance , highly polished . The portraits of Cornelius Jansen appear to have this defect , and consequently want that suppleness which is the characteristick of flesh ; whereas , in ...
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The literary works [&c.]. In which is included a memoir by J. Farington, Volum 3 sir Joshua Reynolds Uten tilgangsbegrensning - 1819 |
Vanlige uttrykk og setninger
Academy acquired admirable altar AMSTER angels ANTWERP appears artist attention attitude beauty Bolswert BRANDT BRUSSELS Carlo Maratti certainly character Christ church Claude Lorrain colour composition considered Correggio criticism defect dignity DISCOURSE Domenichino Domenico Feti DORP drapery drawing drawn dress DUSSEL Dutch effect engraved excellence expression figure finished Gainsborough gallery genius GHENT give grace grandeur habit hand head idea imagination imitation invention Jan Steen Jordaens kind labour landscapes light and shadow likewise look Luca Giordano Magdalen manner Masaccio mass of light master means MECHLIN merit Michael Angelo mind nature never object observed painted painter Paolo Veronese perfect perhaps picture of Rubens Pieta Poetry portrait possessed principles produced racter Raffaelle reason RECOLLETS Rembrandt represented Rubens's Saint Sculpture seen Sergius Paulus spectator Steen style taste Teniers thing tion Titian truth ture VANDER Vandyck Virgin Weeninx whole woman
Populære avsnitt
Side 107 - Or ounce, or tiger, hog, or bearded goat, All other parts remaining as they were ; And they, so perfect is their misery, Not once perceive their foul disfigurement, But boast themselves more comely than before ; And all their friends and native home forget, To roll with pleasure in a sensual sty.
Side 221 - I was much pleased with your ridicule of those shallow criticks, whose judgment, though often right as far as it goes, yet reaches only to inferior beauties, and who, unable to comprehend the whole, judge only by parts, and from thence determine the merit of extensive works.
Side 171 - That Gainsborough himself considered this peculiarity in his manner, and the power it possesses of exciting surprise, as a beauty in his works, I think may be inferred from the eager desire which we know he always expressed, that his pic-- tures, at the Exhibition, should be seen near, as well as at a distance.
Side 141 - This is a tribute which a painter owes to an architect who composed like a painter, and was 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 120 - It is the lowest style only, of arts, whether of Painting, Poetry, or Musick, that may be said, in the vulgar sense, to be naturally pleasing. The higher efforts of those arts, we know by experience, do not affect minds wholly uncultivated. This refined taste is the consequence of education and habit...
Side 231 - ... minute exactness in the detail, as I may say, of Nature modified by accident. The attention to these petty peculiarities is the very cause of this naturalness so much admired in the Dutch pictures, which, if we suppose it to be a beauty, is certainly of a lower order, which ought to give place to a beauty of a superior kind, since one cannot be obtained but by departing from the other.
Side 424 - Correggio, or any of the great colourists. The effect of his pictures may be not improperly compared to clusters of flowers; all his colours appear as clear and as beautiful : at the same time he has avoided that tawdry effect which one would expect such gay colours to produce: in this respect resembling Barocci more than any other painter.
Side 217 - I reflect, not without vanity, that these Discourses bear testimony of my admiration of that truly divine man ; and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of — MICHAEL ANGELO.* * Unfortunately for mankind, these were the last words pronounced by this great Painter from the Academical chair.
Side 233 - Maratti, and from thence to the very pathos of insipidity to which they are now sunk ; so that there is no need of remarking, that where I mentioned the Italian Painters in opposition to the Dutch, I mean not the moderns, but the heads of the old Roman and Bolognian Schools ; nor did I mean to include in my idea of an Italian Painter, the Venetian School, which may be said to be the Dutch part of the Italian Genius.
Side 317 - The genius of Rubens no where appears to more advantage than here : it is the most carefully finished picture of- all his works. The whole is conducted with the most consummate art ; the composition is bold and uncommon, with circumstances which no other painter had ever before thought of; such as the breaking of the limbs, and the expression of the Magdalen, to which we may add the disposition of the three crosses, which are placed prospectively in an uncommon picturesque manner...