The Complete Works of Sir Joshua Reynolds: First President of the Royal Academy : with an Original Memoir, and Anecdotes of the Author, Volum 2T. M'Lean, 1824 |
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Side 19
... countenance than perhaps any other antique statues , yet it is only the general expression of pain ; and this passion is still more strongly expressed by the writhing and contortion of the body than by the features . It has been ...
... countenance than perhaps any other antique statues , yet it is only the general expression of pain ; and this passion is still more strongly expressed by the writhing and contortion of the body than by the features . It has been ...
Side 20
... countenance . This is not recommended for imitation ( for there can be no reason why the countenance should not correspond with the attitude and expression of the figure ) , but is mentioned in order to infer from hence that this ...
... countenance . This is not recommended for imitation ( for there can be no reason why the countenance should not correspond with the attitude and expression of the figure ) , but is mentioned in order to infer from hence that this ...
Side 21
... countenance , the exact relation which he bore to the woman who appears to be taken from him . Though painting and sculpture are , like many other arts , governed by the same general principles , yet in the detail , or what may be ...
... countenance , the exact relation which he bore to the woman who appears to be taken from him . Though painting and sculpture are , like many other arts , governed by the same general principles , yet in the detail , or what may be ...
Side 47
... countenance , as I have observed in another place , depend more upon the general effect produced by the painter , than on the exact expression of the peculiarities , or minute discrimination of the parts . The chief attention of the ...
... countenance , as I have observed in another place , depend more upon the general effect produced by the painter , than on the exact expression of the peculiarities , or minute discrimination of the parts . The chief attention of the ...
Side 50
... point out that kind of exact- ness which is the best , and which is alone truly to be so esteemed . So far is my disquisition from giving countenance to idleness , that there is nothing in our art 50 THE ELEVENTH DISCOURSE .
... point out that kind of exact- ness which is the best , and which is alone truly to be so esteemed . So far is my disquisition from giving countenance to idleness , that there is nothing in our art 50 THE ELEVENTH DISCOURSE .
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The Complete Works of Sir Joshua Reynolds, First President of the ..., Volum 2 Sir Joshua Reynolds Uten tilgangsbegrensning - 1824 |
The Complete Works of Sir Joshua Reynolds: First President of the Royal ... Joshua Reynolds Ingen forhåndsvisning tilgjengelig - 2022 |
The Complete Works of Sir Joshua Reynolds: First President of the ..., Volum 3 Sir Joshua Reynolds Ingen forhåndsvisning tilgjengelig - 2019 |
Vanlige uttrykk og setninger
Academy acquired admirable advantage altar Andrea Sacchi angels animated Annibale Caracci Antwerp appears artist attention attitude beauty Bolswert Carlo Maratti certainly character Christ church Claude Lorraine colouring composition considered Corregio countenance criticism dead defect dignity DISCOURSE disposition Domenichino Domenico Feti drapery drawing drawn dress effect equally excellence expression figure finished Gainsborough gallery genius give grace grandeur habit hand head idea imagination imitation invention Jan Steen Jordaens justly kind labour landscape Last Judgment light and shadow likewise look Luca Giordano Magdalen Masaccio mass of light master means merit Michael Angelo mind nature ness never object observed painted painter Paolo Veronese perfect perhaps picture Pieta poetry portrait possessed principles produced racter Raffaelle reason RECOLLETS Rembrandt represented Rubens saint sculpture seen spectator style supposed taste thing tion Titian truth ture Vanderwerf Vandyck Virgin whole woman
Populære avsnitt
Side 164 - I feel a self-congratulation in knowing myself capable of such sensations as he intended to excite. 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 176 - The Italian, attends only to the invariable, the great and general ; ideas which are fixed and inherent in universal nature; the Dutch, on the contrary, to literal truth and a 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...
Side 174 - There may perhaps be too great an indulgence, as well as too great a restraint of imagination ; and if the one produces incoherent monsters, the other produces what is full as bad, lifeless insipidity. An intimate knowledge of the passions, and good sense, but not common sense, must at last determine its limits.
Side 209 - Arimathea is the same countenance which he so often introduced in his works ; a smooth fat face,—a very un-historical character. The principal light is formed by the body of Christ and the white sheet ; there is no second light which bears any proportion to the principal ; in this respect...
Side 172 - Amongst the painters, and the writers on painting, there is one maxim universally admitted and continually inculcated. Imitate nature is the invariable rule; but I know none who have explained in what manner this rule is to be understood; the consequence of which is, that every one takes it in the most obvious sense, that objects are represented naturally when they have such relief that they seem real. It may appear strange, perhaps, to hear this sense of the rule disputed; but it must be considered,...
Side 170 - I shall trouble you no longer with my friend's observations, which, I suppose, you are now able to continue by yourself. It is curious to observe, that, at the same time that great admiration is pretended for a name of fixed reputation, objections are raised against those very qualities by which that great name was acquired.
Side 37 - Sculpture, is a sufficient proof that the pleasure we receive from imitation is not increased merely in proportion as it approaches to minute and detailed reality; we are pleased, on the contrary, by seeing ends accomplished by seemingly inadequate means. To express protuberance by actual relief, to express the softness of flesh by the softness of wax, seems rude and inartificial, and creates no grateful surprise. But to express distances on a plain surface, softness by hard bodies, and particular...
Side 72 - Raphael lived but thirty-seven years ; and in that short space carried the art so far beyond what it had before reached, that he appears to stand alone as a model to his successors.
Side 173 - ... 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 150 - The Artists of that age, even Raffaelle himself, seemed to be going on very contentedly in the dry manner of Pietro Perugino; and if Michael Angelo had never appeared, the Art might still have continued in the same style.