Papers on ArtMacmillan and Company, 1885 - 230 Seiten |
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Seite 49
... spirit with the spirit of his art ; they were seldom chosen with any special reference to the particular bent of his genius . Raphael did not grow devout in the painting of Madonnas ; nor did Titian approach nearer to classic severity ...
... spirit with the spirit of his art ; they were seldom chosen with any special reference to the particular bent of his genius . Raphael did not grow devout in the painting of Madonnas ; nor did Titian approach nearer to classic severity ...
Seite 52
... ing could be made of living influence . not only patiently studied such monuments of sculpture as came within his reach , but pene- He trated to the spirit that had controlled the ancient artists 52 1 . PAPERS ON ART .
... ing could be made of living influence . not only patiently studied such monuments of sculpture as came within his reach , but pene- He trated to the spirit that had controlled the ancient artists 52 1 . PAPERS ON ART .
Seite 53
Joseph Comyns Carr. trated to the spirit that had controlled the ancient artists in their labour , and carried away the deepest secrets of their style . The " Design for a Fountain , " lent by the Earl of Warwick , shows how great was ...
Joseph Comyns Carr. trated to the spirit that had controlled the ancient artists in their labour , and carried away the deepest secrets of their style . The " Design for a Fountain , " lent by the Earl of Warwick , shows how great was ...
Seite 55
... to the laws of design . But the grandeur of Mantegna's in- vention , and his sympathy with the spirit of the antique , were not the only links that bound him to the progressive movement of the Renais- sance . I. 55 THE OLD MASTERS .
... to the laws of design . But the grandeur of Mantegna's in- vention , and his sympathy with the spirit of the antique , were not the only links that bound him to the progressive movement of the Renais- sance . I. 55 THE OLD MASTERS .
Seite 56
... spirit of unflinching realism that reminds us rather of Dürer than of any other painter of the south . He was not content until he had carried his impressions back to their source in nature to test and confirm their truth , and as a ...
... spirit of unflinching realism that reminds us rather of Dürer than of any other painter of the south . He was not content until he had carried his impressions back to their source in nature to test and confirm their truth , and as a ...
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Häufige Begriffe und Wortgruppen
absolute admirable already ambition antique art of Italy artist Barry Barry's beauty belonging career character charm claims colour complete composition Conrad Celtes contemporaries 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 Louvre 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
Beliebte Passagen
Seite 135 - English artists are the most engaged, a variety, a fancy, and a dignity derived from the higher branches, which even those who professed them in a superior manner did not always preserve, when they delineated individual nature. His portraits remind the spectator of the invention of history, and the amenity of landscape. In painting portraits, he appeared not to be raised upon that platform, but to descend to it from a higher sphere.
Seite 132 - Reynolds, who was the intimate and beloved friend of that great man; the friend, whom he declared to be "the most invulnerable man he knew; whom, if he should quarrel with him, he should find the most difficulty how to abuse.
Seite 134 - His talents of every kind, powerful from nature, and not meanly cultivated by letters, his social virtues in all the relations, and all the habitudes of life, rendered him the centre of a very great and unparalleled variety of agreeable societies, which will be dissipated by his death. He 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 128 - The poorest of men, as he observed himself, did not labour from necessity more than he did from choice. Indeed, from all the circumstances related of his life, he appears not to have had the least conception 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.
Seite 122 - I have taken another course, one more suited to my abilities, and to the taste of the times in which I live.
Seite 134 - His talents of every kind — powerful from nature, and not meanly cultivated by letters — his social virtues in all the relations and in all the habitudes of life, rendered him the centre of a very great and unparalleled variety of agreeable societies, which will be dissipated by his death. He had too much merit not to provoke some jealousy, too much innocence to provoke any enmity.
Seite 91 - on my going home, to find some corner where I could sit down, in the middle of my studies, books, and casts after the antique, to paint this work and others, where I might have models of nature when necessary, bread and soup, and a coat to cover me...
Seite 192 - At length he took Sheridan by the hand, led him out of the room, and said, " Now don't laugh, but listen. I shall die soon — I know it — I feel it — I have less time to live than my looks infer — but for this I care 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 — aye or no?
Seite 177 - ... a minute observation of particular nature. If Gainsborough did not look at nature with a poet's eye, it must be acknowledged that he saw her with the eye of a painter ; and gave a faithful, if not a poetical, representation of what he had before him.
Seite 123 - I reflect not without vanity, that these Discourses bear testimony of my admiration * Che Raffaelle non ebbe quest" arte da nutura, ma per lunyo studio. of that truly divine man, and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of — MICHAEL ANGELO*.