Lectures on the History and Principles of PaintingLongman, Rees, Orme, Brown, Green & Longman, 1833 - 477 sider |
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Side 13
... shade of her sleeping lover as its origin , did not other historical nar- ratives dissolve the agreeable spell that hangs over it , and carry us back to far more remote periods ; and even in them we find reference to others now entirely ...
... shade of her sleeping lover as its origin , did not other historical nar- ratives dissolve the agreeable spell that hangs over it , and carry us back to far more remote periods ; and even in them we find reference to others now entirely ...
Side 20
... in taste , in cha- racter , and design , they rivalled the sculptors of the best period . Neither can we doubt , that they carried colouring of individual objects , and the management of light and shade , to a great 20 LECTURE I.
... in taste , in cha- racter , and design , they rivalled the sculptors of the best period . Neither can we doubt , that they carried colouring of individual objects , and the management of light and shade , to a great 20 LECTURE I.
Side 21
Thomas Phillips. the management of light and shade , to a great degree of perfection . But , whether they ever understood and em- ployed composition , as now extensively prac- tised , in what relates to the union and separation of groups ...
Thomas Phillips. the management of light and shade , to a great degree of perfection . But , whether they ever understood and em- ployed composition , as now extensively prac- tised , in what relates to the union and separation of groups ...
Side 22
... conducted . No record , for instance , of artificial arrangements of background , or extraordinary contrasts of light and shade , relied upon for effect ; or even of any systematic arrangement or management of colour , if 22 LECTURE I.
... conducted . No record , for instance , of artificial arrangements of background , or extraordinary contrasts of light and shade , relied upon for effect ; or even of any systematic arrangement or management of colour , if 22 LECTURE I.
Side 41
... shade is the product of common daylight , without any attempt at the artificial effect of chiaro - oscuro . Of draperies he was a perfect master ; and it is an extremely curious thing to observe , that the intricacies of drawing , which ...
... shade is the product of common daylight , without any attempt at the artificial effect of chiaro - oscuro . Of draperies he was a perfect master ; and it is an extremely curious thing to observe , that the intricacies of drawing , which ...
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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.