The Complete Works of Sir Joshua Reynolds: First President of the Royal Academy : with an Original Memoir, and Anecdotes of the Author, Band 2T. M'Lean, 1824 |
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Seite 36
... master . We may even go further , and observe , that when the general effect only is presented to us by a skil- ful hand , it appears to express the object repre- sented in a more lively manner than the minutest resemblance would do ...
... master . We may even go further , and observe , that when the general effect only is presented to us by a skil- ful hand , it appears to express the object repre- sented in a more lively manner than the minutest resemblance would do ...
Seite 39
... master of this art . By a few strokes he knew how to mark the general image and cha- racter of whatever object he attempted ; and pro- duced , by this alone , a truer representation than his master Giovanni Bellino , or any of his prede ...
... master of this art . By a few strokes he knew how to mark the general image and cha- racter of whatever object he attempted ; and pro- duced , by this alone , a truer representation than his master Giovanni Bellino , or any of his prede ...
Seite 52
... master of the general principles on which these works are conducted . If he ever hopes to rival those whom he admires , he must consider their works as the means of teaching him the true art of seeing nature . When this is acquired , he ...
... master of the general principles on which these works are conducted . If he ever hopes to rival those whom he admires , he must consider their works as the means of teaching him the true art of seeing nature . When this is acquired , he ...
Seite 61
... master . To him they would wish to transfer that care , which they ought and must take of themselves . Such are to be told , that after the rudiments are past , very little of our art can be taught by others . The most skilful master ...
... master . To him they would wish to transfer that care , which they ought and must take of themselves . Such are to be told , that after the rudiments are past , very little of our art can be taught by others . The most skilful master ...
Seite 75
... is intended to express an enthusiastic frantic kind of joy . This figure , Baccio Bandinelli , in a drawing that I have of that master , of the Descent from the Cross , has adopted , ( and he knew very well what THE TWELFTH DISCOURSE . 75.
... is intended to express an enthusiastic frantic kind of joy . This figure , Baccio Bandinelli , in a drawing that I have of that master , of the Descent from the Cross , has adopted , ( and he knew very well what THE TWELFTH DISCOURSE . 75.
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Häufige Begriffe und Wortgruppen
Academy acquired admirable advantage altar Andrea Sacchi angels animated Annibale Caracci Antwerp appears artist attention attitude beauty Bolswert Carlo Maratti certainly character Christ church Claude Lorraine colouring composition considered Corregio countenance criticism dead defect dignity DISCOURSE disposition Domenichino Domenico Feti drapery drawing drawn dress effect equally excellence expression figure finished Gainsborough gallery genius give grace grandeur habit hand head idea imagination imitation invention Jan Steen Jordaens justly kind labour landscape Last Judgment light and shadow likewise look Luca Giordano Magdalen Masaccio mass of light master means merit Michael Angelo mind nature ness never object observed painted painter Paolo Veronese perfect perhaps picture Pieta poetry portrait possessed principles produced racter Raffaelle reason RECOLLETS Rembrandt represented Rubens saint sculpture seen spectator style supposed taste thing tion Titian truth ture Vanderwerf Vandyck Virgin whole woman
Beliebte Passagen
Seite 164 - I feel a self-congratulation in knowing myself capable of such sensations as he intended to excite. I reflect, not without vanity, that these Discourses bear testimony of my admiration 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.* * Unfortunately for mankind, these were the last words pronounced by this great Painter from the Academical chair.
Seite 176 - 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 174 - There may perhaps be too great an indulgence, as well as too great a restraint of imagination ; and if the one produces incoherent monsters, the other produces what is full as bad, lifeless insipidity. An intimate knowledge of the passions, and good sense, but not common sense, must at last determine its limits.
Seite 209 - Arimathea is the same countenance which he so often introduced in his works ; a smooth fat face,—a very un-historical character. The principal light is formed by the body of Christ and the white sheet ; there is no second light which bears any proportion to the principal ; in this respect...
Seite 172 - Amongst the painters, and the writers on painting, there is one maxim universally admitted and continually inculcated. Imitate nature is the invariable rule; but I know none who have explained in what manner this rule is to be understood; the consequence of which is, that every one takes it in the most obvious sense, that objects are represented naturally when they have such relief that they seem real. It may appear strange, perhaps, to hear this sense of the rule disputed; but it must be considered,...
Seite 170 - I shall trouble you no longer with my friend's observations, which, I suppose, you are now able to continue by yourself. It is curious to observe, that, at the same time that great admiration is pretended for a name of fixed reputation, objections are raised against those very qualities by which that great name was acquired.
Seite 37 - Sculpture, is a sufficient proof that the pleasure we receive from imitation is not increased merely in proportion as it approaches to minute and detailed reality; we are pleased, on the contrary, by seeing ends accomplished by seemingly inadequate means. To express protuberance by actual relief, to express the softness of flesh by the softness of wax, seems rude and inartificial, and creates no grateful surprise. But to express distances on a plain surface, softness by hard bodies, and particular...
Seite 72 - Raphael lived but thirty-seven years ; and in that short space carried the art so far beyond what it had before reached, that he appears to stand alone as a model to his successors.
Seite 173 - ... 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 150 - The Artists of that age, even Raffaelle himself, seemed to be going on very contentedly in the dry manner of Pietro Perugino; and if Michael Angelo had never appeared, the Art might still have continued in the same style.