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Academy admired afterwards anecdote appear artist attention beauty Burke called character circumstance colours consequence considered copy course death desire discourse distinguished drawing effect excellence executed exhibition expression eyes father figure finished Garrick gave genius give given Goldsmith greatest hand head heard idea immediately Italy Johnson kind King known lady letter light lived London look manner master means merit mind Miss nature never notice object observed occasion opinion painter painting particularly period person picture pleased portrait possessed present principle produced reason received represented respect Rome Royal rules seems seen Sir Joshua Reynolds society soon speak style taste thing thought tion took true truth ture various whilst whole wish write young
Страница 202 - Here Reynolds is laid, and to tell you my mind, He has not left a wiser or better behind : His pencil was striking, resistless, and grand: His manners were gentle, complying, and bland; Still born to improve us in every part, His pencil our faces, his manners our heart...
Страница 133 - This guest of summer, The temple-haunting martlet, does approve By his loved mansionry that the heaven's breath Smells wooingly here : no jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendent bed and procreant cradle : Where they most breed and haunt, I have observed The air is delicate.
Страница 247 - ... while those which depend for their existence on particular customs and habits, a partial view of nature, or the fluctuation of fashion, can only be coeval with that which first raised them from obscurity. Present time and future may be considered as rivals ; and he who solicits the one must expect to be discountenanced by the other.
Страница 208 - ... a mere copier of nature can never produce any thing great ; can never raise and enlarge the conceptions, or warm the heart of the spectator. The wish of the genuine painter must be more extensive: instead of endeavouring to amuse mankind with the minute neatness of his imitations, he must endeavour to improve them by the grandeur of his ideas ; instead of seeking praise, by deceiving the superficial sense of the spectator, he must strive for fame by captivating the imagination.
Страница 70 - If a man does not make new acquaintance as he advances through life, he will soon find himself left alone. A man, Sir, should keep his friendship in constant repair
Страница 162 - I would chiefly recommend that an implicit obedience to the Rules of Art, as established by the practice of the great MASTERS, should be exacted from the young Students. That those models, which have passed through the approbation of ages, should be considered by them as perfect and infallible guides ; as subjects for their imitation, not their criticism.
Страница 210 - ... idea which has acquired, and which seems to have a right to the epithet of divine; as it may be said to preside, like a supreme judge, over all the productions of nature appearing to be possessed of the will and intention of the Creator, as far as they regard the external form of living beings.
Страница 102 - By a solicitous examination of objections and judicious comparison of opposite arguments, he attained, what enquiry never gives but to industry and perspicuity, a firm and unshaken settlement of conviction. But his firmness was without asperity ; for, knowing with how much difficulty truth was sometimes found, he did not wonder that many missed it.
Страница 209 - Could we teach taste or genius by rules, they would be no longer taste and genius. But though there neither are, nor can be, any precise invariable rules for the exercise, or the acquisition, of these great qualities, yet we may truly say, that they always operate in proportion to our attention in observing the works of Nature, to our skill in selecting, and to our care in digesting, methodizing, and comparing our observations.
Страница 225 - Genius is chiefly exerted in historical pictures ; and the art of the painter of portraits is often lost in the obscurity of his subject. But it is in painting as in life ; what is greatest is not always best. I should grieve to see Reynolds transfer to heroes and to goddesses, to empty splendour and to airy fiction, that art which is now employed in diffusing friendship, in reviving tenderness, in quickening the affections of the absent, and continuing the presence of the dead.