Papers on ArtMacmillan and Company, 1885 - 230 Seiten |
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absolute admirable already ambition antique art of Italy artist Barry Barry's beauty belonging career character charm claims colour complete composition Conrad Celtes contemporaries destined devotion drawing Dürer earlier English engraving example executed exhibition expression face fact failure fame feeling figures Florence force fresco Gainsborough genius gifted Giovanni da Udine Giulio Romano grace Grosvenor Gallery hand human ideal Il Pordenone imaginative design impress individual influence inspired intellectual invention Italian Italy Jan Van Eyck labour Lady landscape later lent Leonardo lived Lucas Van Leyden Mantegna master ment Michelangelo movement nature Nuremburg painter painting passion perhaps Perugino picture Pinturicchio poetical portrait portrait-painter portraiture possessed qualities Raphael realism reality recognise record Reynolds Rossetti Royal Academy Rubens scarcely seek seems sense Sir Joshua sketch Society spirit strange strength style temper thought tion Titian tradition truth Vandyck Venice vision Vittoria Colonna Windsor youth
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Seite 126 - that his art was to be acquired by any other means than great labour; and yet he, of all men that ever lived, might make the greatest pretensions to the efficacy of native genius and inspiration." And in the belief which he here expresses, we may find the secret of
Seite 132 - had too much merit not to excite some jealousy, too much innocence to provoke any enmity. The loss of no man of his time can be felt with more sincere, general, and unmixed sorrow.—' Hail and Farewell.'
Seite 189 - I dread to make, because my knowledge of his landscape works is not extensive enough to justify me in speaking of them decisively : but this is to be noted of all that I know, that they are rather motives of feeling and colour than earnest studies; that their execution is in some degree mannered and
Seite 173 - a faithful if not a poetical representation of what he had before him," we know what he means because we know in what at that day the poetical element in art was held to consist. Looking back at Gainsborough's work now, it would seem rather to be open to the opposite reproach. Its
Seite 155 - in the mind; the sight never beheld it, nor has the hand expressed it: it is an idea residing in the breast of the artist which he is always labouring to impart, and which he dies at last without imparting.
Seite 189 - hasty; that they are altogether wanting in affectionate detail, and that their colour is in some degree dependent on a bituminous brown and conventional green, which have more of science than of truth in them." This is surely a generous and a just appreciation of
Seite 188 - not. What oppresses my mind is this. I have many acquaintances and few friends, and as I wish to have one worthy man to accompany me to the grave I am desirous of bespeaking you. Will you come, ay or no ?
Seite 130 - a friend." On another occasion, referring to his own melancholy, he lets fall an observation that throws a pleasant light upon the character of the painter. " Some men," he says, " and very thinking men too, have not these vexing thoughts. Sir Joshua Reynolds is the same all the year round." Even the occasional differences between the two friends have a touch of kindliness ; and
Seite 188 - August he died at his house in Pall Mall. "A great name his," writes Mr. Ruskin, "whether of the English or of any other school, the greatest colourist since Rubens, and the last I think of legitimate colourists; that is to say of those who were fully acquainted with the use of their material: pure in his English
Seite 160 - and they who came to sit to him for their portraits rarely deigned to honour them with a look as they passed them." And yet it was as a lover of outward nature that Gainsborough first asserted his powers as an artist; and if we are to judge his work aright we