Lectures on the History and Principles of PaintingLongman, Rees, Orme, Brown, Green & Longman, 1833 - 477 sider |
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Side xxii
... impress religious feelings were wrought ; and such the men and the motives which led onwards the cultivation , and the useful application of the art through suc- cessive centuries ; and stimulated others , en- dowed with the most ...
... impress religious feelings were wrought ; and such the men and the motives which led onwards the cultivation , and the useful application of the art through suc- cessive centuries ; and stimulated others , en- dowed with the most ...
Side 7
... impress the mind with devotion , or to excite religious enthusiasm , it became manifest to the artists that close imitation of nature , rather impeded than promoted their object . They therefore found it necessary to treat imitation in ...
... impress the mind with devotion , or to excite religious enthusiasm , it became manifest to the artists that close imitation of nature , rather impeded than promoted their object . They therefore found it necessary to treat imitation in ...
Side 58
... impress ! How great has been the pleasure derived by mankind from the result of that intense applica- tion , and long - continued labour , with which the language of the art was perfected . The feeling , which called for it , that ...
... impress ! How great has been the pleasure derived by mankind from the result of that intense applica- tion , and long - continued labour , with which the language of the art was perfected . The feeling , which called for it , that ...
Side 64
... impress of the most skilful and earnest investigation into the works of nature , and the preceding productions of art ; pursued with almost inconceivable industry and ingenuity . That he obtained power over the most com- plicated ...
... impress of the most skilful and earnest investigation into the works of nature , and the preceding productions of art ; pursued with almost inconceivable industry and ingenuity . That he obtained power over the most com- plicated ...
Side 70
... impress us with a feeling of his power ; of the force of sentiment that reigns in his works , of the dig- nity and sublimity of his conceptions , and the grandeur of his style ; few have discoursed upon his intensity of thought , and ...
... impress us with a feeling of his power ; of the force of sentiment that reigns in his works , of the dig- nity and sublimity of his conceptions , and the grandeur of his style ; few have discoursed upon his intensity of thought , and ...
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Vanlige uttrykk og setninger
action admiration adopted adorn agreeable application arrangement art of painting artist attention beauty breadth character Chiaro-oscuro church Cimabue colour combinations composition contrasts convey Coreggio cultivation degree delight direct display Domenichino draperies effect elevated employed endeavour engaged exalted excellence excite execution exhibited expression feeling Florentine Florentine school Fra Bartolomeo fulness genius Giorgione Giotto grace grandeur gratify Greeks Heliodorus honour hues imagination imitation imitative power imperfect important impress influence ingenious invention Italy knowledge labours Last Judgment LECTURE light and dark light and shade Masaccio masters means ment Michel Angelo mind mode nature object observer obtained ornamental painter peculiar perfect pleasure portion practice principles produce propriety purposes qualities racter Raffaelle refined Rembrandt rendered Rubens scenes selection sense sentiment Sir Joshua Reynolds style taste Tintoretto tion Titian tone truth ture union variety Vatican Venetian Venetian school whilst wrought
Populære avsnitt
Side 198 - Last noon beheld them full of lusty life, Last eve in Beauty's circle proudly gay, The midnight brought the signal-sound of strife, The morn the marshalling in arms - the day Battle's magnificently stern array...
Side 195 - The other Shape — If shape it might be called that shape had none Distinguishable in member, joint, or limb...
Side 196 - The other shape, If shape it might be called that shape had none Distinguishable, in member, joint, or limb; Or substance might be called that shadow seemed, For each seemed either; black he stood as night; Fierce as ten furies; terrible as hell; And shook a deadly dart. What seemed his head The likeness of a kingly crown had on.
Side 312 - The poetry of Shakespear was inspiration indeed : he is not so much an imitator, as an instrument, of Nature ; and it is not so just to say that he speaks from her, as that she speaks through him.
Side i - If to do were as easy as to know what were^ good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine that follows his own instructions: I can easier teach twenty what were good to be done, than be one of the twenty to follow mine own teaching.
Side 251 - Yet nature is made better by no mean, But nature makes that mean: so, o'er that art, Which you say adds to nature, is an art That nature makes.
Side 447 - Thus if .a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent. which has annexed to it no ideas of meanness from its being familiar to us.
Side 197 - So spake the grisly terror, and in shape, So speaking and so threatening, grew tenfold More dreadful and deform. On...
Side 370 - The common error that his colours all fail, ought by this time to be entirely effaced. It is too true that this is the case with the colouring of many pictures painted by him during a short period of his life; he thought that he had discovered a mode of rendering colouring more vivid, and employed it without duly considering the chemical qualities of his materials. But he was soon made acquainted with the mistake he had committed, reassumed his durable system with increased beauty and vigour, and...
Side 343 - Consonance, or harmony of hue, consists in those colours being brought together, which, though they may not be placed exactly in the regular order seen in the rainbow or in the chromatic scale, yet act in accordance with each other upon the eye, and produce no uneasy sensations within it, but rather afford it pleasure.