Lectures. Aphorisms. A history of art in the schools of ItalyH. Colburn and R. Bentley, 1831 |
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Agnolo Agostino Carracci Albert Durer altar-piece Andrea Andrea Mantegna Annibale Annibale Carracci antique Antonio appears artist attitudes beauty Bologna Carracci Cartoon celebrated century chapel character chiaroscuro Christ church Cimabue colour composition conception copy Coroll Correggio cupola dignity Domenichino drapery epoch equal excelled execution expression fancy female figures finish Fiorillo Florence foreshortenings forms Frà Francesco fresco gallery genius Giotto Giovanni Giulio grace grandeur Guido hand imitation inferior invention Jacopo labours Lanzi Last Judgement less Lionardo Lorenzo Madonna manner Mantoua Marco Maria Masaccio master Medici mediocrity Mengs ment Michael Angelo monument Naples Nature painted painter palace Paolo Parma Pellegrino Tibaldi Perugia picture Pietro Pietro Perugino Pinturicchio portrait possessed powers praise principles probably pupil racter Raffaelle Raffaello remains Rome scholars Siena sion Sistina style sublimity superior Taddeo talent taste Tintoretto tion Tiziano tone ture Tuscan Urbino Vasari Venetian Venice vulgar whilst
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Seite 19 - As painter, as sculptor, as architect, he attempted, and above any other man succeeded, to unite magnificence of plan, and endless variety of subordinate parts, with the utmost simplicity and breadth. His line is uniformly grand. Character and beauty were admitted only as far as they could be made subservient to grandeur. The child, the female, meanness, deformity, were by him indiscriminately stamped with grandeur. A beggar rose from his hand the patriarch of poverty ; the hump of his dwarf is impressed...
Seite 10 - I will not say equalled, but approached the subblimity of Leonardo's conception, and in quiet and simple features of humanity, embodied divine, or, what is the same, incomprehensible and infinite powers. To him who could contrive and give this combination, the unlimited praise lavished on the inferior characters who surround the hero, whilst his success in that was doubted, appears to me not only no praise, but a gross injustice.
Seite 54 - FUSELI. 2. If an Artist love his Art for its own sake, he will delight in excellence wherever he meets it, as well in the work of another as in his own. This is the test of a true love. 3. Nor is this genuine...
Seite 58 - But they are at the same time the asylum of the student, the theatre of his exercises, the repositories of the materials, the archives of the documents of our art...
Seite 89 - When Spenser dragged into light the entrails of the serpent, slain by the Redcross Knight, he dreamt a butcher's dream and not a poet's...
Seite 305 - A shrivelled arm, a dropsied leg, were to Ribera what a breast-plate and a gaberdine were to Rembrandt. As in objects of imitation he courted meagreness or excrescence, so in the choice of historic subjects he preferred to the terrors of ebullient passions, features of horror or loathsomeness, the spasms of Ixion, St. Bartholomew under the butcher's knife.
Seite 135 - ... verdict beyond the forms of Albert Duerer, would be equally unjust and ungrateful to the father of German art, on whom invention often flashed, whom melancholy marked for her own, whose influence even on Italian art was such that he produced a temporary revolution in the style of the Tuscan school. 194. The forms of virtue are erect, the forms of pleasure undulate: Minerva's drapery descends in long uninterrupted lines; a thousand amorous curves embrace the limbs of Flora. 196.
Seite 47 - The efficient cause, therefore, why higher Art at present is sunk to such a state of inactivity and languor that it may be doubted whether it will exist much longer, is not a particular one, which private patronage, or the will of an individual, however great, can remove ; but a general cause, founded on the bent, the manners, habits, modes of a nation, — and not of one nation alone, but of all who at present pretend to culture.
Seite 15 - Chiaroscuro. so at the expense of the rest : distance is compensated by action ; the centre leads to all, as all lead to the centre. That the great restorer of light and shade sacrificed the effects and charms of chiaroscuro at the shrine of character, raised him at once above his future competitors, changes admiration to sympathy, and makes us partners of the feast.
Seite 24 - Of ideal female beauty, though he himself in his letter to count Castiglione tells us, that from its scarcity in life, he made attempts to reach it by an idea formed in his own mind, he certainly wanted that standard which guided him in character; his goddesses and mythologic females are no more than aggravations of the generic forms of Michael Angelo. Roundness, mildness, sanctimony, and insipidity, compose in general the features and airs of his Madonnas, transcripts of the nursery or some favourite...