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absorbed Agamemnon Agasias Agnolo Agostino Agostino Carracci Albert Durer ancients Andrea Mantegna Annibale Carracci Apelles Apollodorus appears artist attitude beauty breadth called Carracci cartoon centre character characteristic charms chiaroscuro Christ colour composition conception Correggio dignity discrimination Domenichino drapery effect elements energy epic equal Eupompus execution exhibit expression fancy feature female figure frescoes genius Giorgione grace grandeur hand harmony head Homer hues human idea imitation infant inferior invention Julio less light and shade Lionardo Lodovico Carracci Lysippus Madonna magic manner Masaccio masses master means ment Michael Angelo mind nature object observations ornament painter painting Parrhasius passions perhaps Phidias picture Pietro Pliny Polygnotus portrait Poussin principle propriety purity Quintilian racter Raffaello Raphael Rembrandt Rome Rubens scene scenery simplicity splendour style sublime subordinate taste terror Timanthes Tintoretto tints tion Tiziano tone Vasari Venice vigour whilst whole Zeuxis
Seite 160 - For to us a child is born, to us a son is given; and the government will be upon his shoulder, and his name will be called "Wonderful Counselor, Mighty God, Everlasting Father, Prince of Peace.
Seite 308 - ... great prerogative consisted more in the unison than in the extent of his powers : he knew better what he could do, what ought to be done, at what point he could arrive, and what lay beyond his reach, than any other artist. Grace of conception and refinement of taste were his elements, and went hand in hand with grace of execution and taste in finish, powerful and seldom possessed singly, irresistible when united...
Seite 352 - ... the subject on himself. The last manner belongs properly to the ornamental style, which we call the Venetian, being first practised at Venice, but is perhaps better learned from Rubens : here the brightest colours possible are admitted, with the two extremes of warm and cold, and those reconciled by being dispersed over the picture, till the whole appears like a bunch of flowers.
Seite 351 - All the modes of harmony, or of producing that effect of colours which is required in a picture, may be reduced to three; two of which belong to the grand style, and the other to the ornamental. The first may be called the Roman manner, where the colours are of a full and strong body, such as are found in the Transfiguration : the next is that harmony which is produced by what the Ancients called the corruption.
Seite 35 - The acuteness of his taste led him to discover that, as all men were connected by one general form, so they were separated, each by some predominant power, which fixed character and bound them to a class : that in proportion as this specific power partook of individual peculiarities, the farther it was removed from a share in that harmonious system which constitutes nature and consists in a due balance of all its parts.
Seite 83 - 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.
Seite 311 - By Nature, I understand the general and permanent principles of visible objects, not disfigured by accident or distempered by disease, not modified by fashion or local habits. Nature is a collective idea, and though its essence exist in each individual of the species, can never in its perfection inhabit a single object...
Seite 48 - ... but merely copied from the description of the sacrifice, as it is found in Euripides. " The words from which the picture is supposed to be taken, are these: Agamemnon saw Iphigenia advance towards the fatal altar; he groaned, he turned aside his head, he shed tears, and covered his face with his robe. " Falconet does not at all acquiesce in the praise that is bestowed on Timanthes; not only because it is not his invention, but because he thinks meanly of this trick of concealing, except in instances...
Seite 80 - ... musician, man of science, and sometimes empiric, he laid hold of every beauty in the enchanted circle — but without exclusive attachment to one, dismissed, in her turn, each. Fitter to scatter hints than teach by example, he wasted life insatiate in experiment.
Seite 82 - Sublimity of conception, grandeur of form, and breadth of manner are the elements of Michael Angelo's style.* By these principles he selected or rejected the objects of imitation. 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.