The Works of Sir Joshua Reynolds, Knight ...: Containing His Discourses, Idlers, A Journey to Flanders and Holland, and His Commentary on Du Fresnoy's Art of Painting, Band 2T. Cadell, Jr. and W. Davies, 1801 |
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Seite 73
... draw from the ancient statues , when to begin to compose , and when to apply to the study of colouring . Such a detail of instruction might be extended with a great deal of plausible and ostentatious amplification . But it would at best ...
... draw from the ancient statues , when to begin to compose , and when to apply to the study of colouring . Such a detail of instruction might be extended with a great deal of plausible and ostentatious amplification . But it would at best ...
Seite 86
... draw extempore the human figure in every variety of action , but he must be acquainted likewise with the general prin- ciples of composition , and possess a habit of foreseeing , while he is composing , the effect of the masses of light ...
... draw extempore the human figure in every variety of action , but he must be acquainted likewise with the general prin- ciples of composition , and possess a habit of foreseeing , while he is composing , the effect of the masses of light ...
Seite 114
... drawn ; if it be not affected , the reasoning is erroneous , because the end is not obtained ; the effect itself being the test , and the only test , of the truth and efficacy of the means . There is in the commerce of life , as in Art ...
... drawn ; if it be not affected , the reasoning is erroneous , because the end is not obtained ; the effect itself being the test , and the only test , of the truth and efficacy of the means . There is in the commerce of life , as in Art ...
Seite 115
... draw on such funds . If we were obliged to enter into a theoretical deliberation on every occasion , before we act , life would be at a stand , and Art would be impracticable . It appears to me therefore , that our first thoughts , that ...
... draw on such funds . If we were obliged to enter into a theoretical deliberation on every occasion , before we act , life would be at a stand , and Art would be impracticable . It appears to me therefore , that our first thoughts , that ...
Seite 147
... draw our examples from remote and revered antiquity , -with some advantage undoubtedly in that selection , we subject ourselves to some inconveniences . 71 We may suffer ourselves to be too much led away L 2 Character of Gainsborough ...
... draw our examples from remote and revered antiquity , -with some advantage undoubtedly in that selection , we subject ourselves to some inconveniences . 71 We may suffer ourselves to be too much led away L 2 Character of Gainsborough ...
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The Works of Sir Joshua Reynolds, Knight; Late President of the Royal ... Edmond Malone,Thomas Gray, Sir,Dr Joshua Reynolds, Sir Sir Keine Leseprobe verfügbar - 2016 |
The Works of Sir Joshua Reynolds, Knight ; Late President of the Royal ... Joshua Reynolds Keine Leseprobe verfügbar - 2019 |
The Works of Sir Joshua Reynolds, Knight; Late President of the Royal ... Edmond Malone,Thomas Gray, Sir,Dr Joshua Reynolds, Sir Sir Keine Leseprobe verfügbar - 2016 |
Häufige Begriffe und Wortgruppen
Academy acquired admirable altar AMSTER angels ANTWERP appears artist attention attitude beauty Bolswert BRANDT BRUSSELS Carlo Maratti certainly character Christ church Claude Lorrain colouring composition considered Correggio countenance criticism defect dignity DISCOURSE Domenichino Domenico Feti DORP drapery drawing drawn dress DUSSEL Dutch effect engraved excellence expression figure finished Gainsborough genius GHENT give grace grandeur habit hand head idea imagination imitation invention Jan Steen Jordaens judgement kind labour landscapes light and shadow likewise look Luca Giordano Magdalen manner Masaccio mass of light master means MECHLIN merit Michael Angelo mind nature never object observed painted painter Paolo Veronese perfect perhaps picture of Rubens Pieta Poetry portrait possessed principles produced racter Raffaelle reason RECOLLETS Rembrandt represented Rubens Rubens's Saint Sculpture seen Sergius Paulus spectator Student style taste Teniers Terburg thing tion Titian truth ture VANDER Vandyck Virgin Weeninx whole woman
Beliebte Passagen
Seite 226 - I was led into the subject of this letter by endeavouring to fix the original cause of this conduct of the Italian masters. If it can be proved that by this choice they selected the most beautiful part of the creation, it will...
Seite 119 - It is the lowest style only of arts, whether of Painting, Poetry, or Musick, that may be said, in the vulgar sense, to be naturally pleasing. The higher efforts of those arts we know by experience, do not affect minds wholly uncultivated. This refined taste is the consequence of education and habit; we are born only with a capacity of entertaining this refinement, as we are born with a disposition to receive and obey all the rules and regulations of society; and so far it may be said to be natural...
Seite 231 - The Italian, attends only to the invariable, the great and general ; ideas which are fixed and inherent in universal nature; the Dutch, on the contrary, to literal truth and a minute exactness in the detail, as I may say, of nature modified by accident. The attention to these petty peculiarities is the very cause of this naturalness so much admired in the Dutch pictures, which, if we suppose it to be a beauty, is certainly...
Seite 227 - ... minute exactness in the detail, as I may say, of Nature modified by accident. The attention to these petty peculiarities is the very cause of this naturalness so much admired in the Dutch pictures, which, if we suppose it to be a beauty, is certainly of a lower order, which ought to give place to a beauty of a superior kind, since one cannot be obtained but by departing from the other.
Seite 171 - The likeness of a portrait, as I have formerly observed, consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or •any of the particular parts. Now Gainsborough's portraits were often little more, in regard to finishing, or determining the form of the features, than what generally attends a dead colour; but as he was always attentive to the general effect, or whole together, I have often imagined that this unfinished manner contributed...
Seite 292 - Rubens ; on the contrary, his mezzotints are often too grey. The blue drapery, about the middle of the figure at the bottom of the Cross, and the grey colour of some armour, are nearly all the cold colours in the picture ; which are certainly not enough to qualify so large a space of warm colours. The principal mass of light is on the Christ's body; but in order to enlarge it, and improve its shape, a strong light comes on the shoulder of the figure with a bald head : the form of this shoulder is...
Seite 418 - Correggio, or any of the great colourists. The effect of his pictures may be not improperly compared to clusters of flowers; all his colours appear as clear and as beautiful : at the same time he has avoided that tawdry effect which one would expect such gay colours to produce : in this respect resembling Barocci more than any other painter.
Seite 237 - The black and white nations must, in respect of beauty, be considered as of different kinds, at least a different species of the same kind ; from one of which to the other, as I observed, no inference can be drawn. Novelty is said to be one of the causes of beauty : that novelty is a very sufficient reason why we should admire, is not denied ; but, because it is uncommon, is it, therefore, beautiful? The beauty that is produced by...
Seite 411 - The striking brilliancy of his colours, and their lively opposition to each other, the flowing liberty and freedom of his outline, the animated pencil, with which every object is touched, all contribute to awaken and keep alive the attention of the spectator ; awaken in him, in some measure, correspondent sensations, and make him feel a degree of that enthusiasm with which the painter was carried away. To this we may add the complete uniformity in all the parts of the work, so that the whole seems...
Seite 149 - I allude to, and whose loss we lament, in a certain routine of practice, which, to the eyes of common observers, has the air of a learned composition, and bears a sort of superficial resemblance to the manner of the great men who went before them. I know this perfectly well ; but I know likewise, that a man, looking for real and lasting reputation, must unlearn much of the common-place method so observable in the works of the artists whom I have named. For my own part, I confess, I take more interest...