The DiscoursesScott, 1887 - 283 Seiten |
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Seite xix
... speaking of this innovation , he says : " This exhibition has filled the heads of artists and lovers of art . Surely life , if it be not long , is tedious ; since we are forced to call in the assist- ance of so many trifles to rid us of ...
... speaking of this innovation , he says : " This exhibition has filled the heads of artists and lovers of art . Surely life , if it be not long , is tedious ; since we are forced to call in the assist- ance of so many trifles to rid us of ...
Seite xx
... Reynolds . To those who speak thus it is only needful to tell that Pliny already spoke of painting as a " dying art . " After this we need reason with such blind admirers of antiquity qua antiquity no farther XX SIR JOSHUA REYNOLDS .
... Reynolds . To those who speak thus it is only needful to tell that Pliny already spoke of painting as a " dying art . " After this we need reason with such blind admirers of antiquity qua antiquity no farther XX SIR JOSHUA REYNOLDS .
Seite xxi
... speak of him as the greatest , as unapproachable henceforward , is as absurd as to claim , as did his contemporaries , that anything so able as his art discourses had never been penned . These were above all impressed by the undoubted ...
... speak of him as the greatest , as unapproachable henceforward , is as absurd as to claim , as did his contemporaries , that anything so able as his art discourses had never been penned . These were above all impressed by the undoubted ...
Seite xxiii
... speak for himself . After saying how unequal he had been to the expression of his ideas , he continues : —— “ To this work , however , I could not be said to come totally unprovided with materials ; I had seen much , and I had thought ...
... speak for himself . After saying how unequal he had been to the expression of his ideas , he continues : —— “ To this work , however , I could not be said to come totally unprovided with materials ; I had seen much , and I had thought ...
Seite xxiv
... speaking of portrait- painting ( Discourse III . ) , he puts it low in rank among the various departments of painting . He strove with all his power to elevate English art methods , to lead artists to practice what he named the " grand ...
... speaking of portrait- painting ( Discourse III . ) , he puts it low in rank among the various departments of painting . He strove with all his power to elevate English art methods , to lead artists to practice what he named the " grand ...
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Häufige Begriffe und Wortgruppen
acquired admiration advantage Albert Durer ancient appear artist attention Carlo Maratti character Claude Lorrain colour composition considered copy Correggio criticism defects degree dignity discourse disposition distinguished drapery drawing dress Edited effect elegance endeavour equally Ernest Rhys excellence expression figure finished Gainsborough genius give grace grandeur habit highest imagination imitation instance invention Joseph Skipsey judgment justly kind labour light and shadow manner Masaccio masters means merit method Michel Angelo mind minute modern nature necessary never object observed opinion ornaments painters painting particular passions Paul Veronese peculiar Pellegrino Tibaldi perfection perhaps picture Pietro Perugino poetry portraits possessed Poussin practice principles proceed produced Raffaelle rank reason recommend Rembrandt Reynolds Royal Academy Rubens rules Sculpture sense Sergius Paulus simplicity Sir Joshua spectator Students style suppose taste things thought tion Titian true truth variety Venetian Venetian school vulgar whole wish
Beliebte Passagen
Seite 30 - There is no excellent Beauty that hath not some strangeness in the proportion. A man cannot tell, whether Apelles or Albert Durer were the more trifler; whereof the one would make a personage by geometrical proportions, the other by taking the best parts out of divers faces to make one Excellent.
Seite 27 - The gusto grande of the Italians, the beau ideal of the French, and the great style, genius, and taste among the English, are but different appellations of the same thing. It is this intellectual dignity...
Seite 228 - ... defrauded of the due reward of his merit by the wits of his time who did not understand the principles of composition in poetry better than he, and who knew little or nothing of what he understood perfectly, the general ruling principles of architecture and painting.
Seite 216 - Such men will always prefer imitation to that excellence which is addressed to another faculty that they do not possess; but these are not the persons to whom a painter is to look, any more than a judge of morals and manners ought to refer controverted points upon those subjects to the opinions of people taken from the banks of the Ohio, or from New Holland.
Seite 272 - Angelo; with all the rest of the cant of Criticism, which he emitted with that volubility which generally those orators have, who annex no ideas to their words. As we were passing through the rooms, in our way to the Gallery, I made him observe a whole length of Charles the First, by...
Seite 29 - It must be an eye long used to the contemplation and comparison of these forms ; and which, by a long habit of observing what any set of objects of the same kind have in common, has acquired the power of discerning what each wants in particular.
Seite 153 - To what Falconet has said, we may add that supposing this method of leaving the expression of grief to the imagination to be, as it was thought to be, the invention of the painter, and that it deserves all the praise that has been given it, still it is a trick that will serve but once; whoever does it a second time will not only want novelty, but be justly suspected of using artifice to evade difficulties. If difficulties overcome make a great part of the merit of art, difficulties evaded can deserve...
Seite 244 - His handling, the manner of leaving the colours, or, in other words, the methods he used for producing the effect, had very much the appearance of the work of an artist who had never learned from others the usual and regular practice belonging to the art ; but still, like a man of strong intuitive perception of what was required, he found out a way of his own to accomplish his purpose.
Seite 97 - Study therefore the great works of the great masters, for ever. Study as nearly as you can, in the order, in the manner, and on the principles, on which they studied. Study nature attentively, but always with those masters in your company ; consider them as models which you are to imitate, and at the same time as rivals with whom you are to contend.
Seite 282 - ... but, because it is uncommon, is it therefore beautiful? The beauty that is produced by colour, as when we prefer one bird to another, though of the same form, on account of its colour, has nothing to do with this argument, which reaches only to form. I have here considered the word beauty as being properly applied to form alone.