Lectures on the History and Principles of PaintingLongman, Rees, Orme, Brown, Green & Longman, 1833 - 477 страница |
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Страница xii
... attention of the reader , and of the student ; for though the richer embellish- ments of the art of painting form the more commonly alluring portion of its productions , yet they are comparatively of slight value without a judicious ...
... attention of the reader , and of the student ; for though the richer embellish- ments of the art of painting form the more commonly alluring portion of its productions , yet they are comparatively of slight value without a judicious ...
Страница xvi
... attention , de- claring , " they were very extraordinary paint- ings , and seemed very fine , but they did not understand them ! " The imperfect impression thus conveyed , cannot be said to arise from any fallacy in the art they exhibit ...
... attention , de- claring , " they were very extraordinary paint- ings , and seemed very fine , but they did not understand them ! " The imperfect impression thus conveyed , cannot be said to arise from any fallacy in the art they exhibit ...
Страница xxi
... attention , or waste the wealth of the church entrusted to their care , being moved only by the empty vanity of having an ornament added to the splendour of the tem- ples they had erected . It was done in the ex- pectation , founded on ...
... attention , or waste the wealth of the church entrusted to their care , being moved only by the empty vanity of having an ornament added to the splendour of the tem- ples they had erected . It was done in the ex- pectation , founded on ...
Страница 6
... attention to the most tasteful , has given to the artist a new sense , and to the public a pure , unadulterated source of gratification and delight . The pleasure we enjoy in regarding the ex- quisite works of the Flemish and Dutch ...
... attention to the most tasteful , has given to the artist a new sense , and to the public a pure , unadulterated source of gratification and delight . The pleasure we enjoy in regarding the ex- quisite works of the Flemish and Dutch ...
Страница 10
... attention of the greatest painters ; and in dis- cussing the mode in which it has been employed by them , in singleness , in combination , and in expression ; in the exercise of its bodily , and the exertion of its mental faculties , we ...
... attention of the greatest painters ; and in dis- cussing the mode in which it has been employed by them , in singleness , in combination , and in expression ; in the exercise of its bodily , and the exertion of its mental faculties , we ...
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Чести термини и фразе
action admiration adopted adorn agreeable application arrangement art of painting artist attention beauty breadth character Chiaro-oscuro church Cimabue colour combinations composition contrasts convey Coreggio cultivation degree delight direct display Domenichino draperies effect elevated employed endeavour engaged exalted excellence excite execution exhibited expression feeling Florentine Florentine school Fra Bartolomeo fulness genius Giorgione Giotto grace grandeur gratify Greeks Heliodorus honour hues imagination imitation imitative power imperfect important impress influence ingenious invention Italy knowledge labours Last Judgment LECTURE light and dark light and shade Masaccio masters means ment Michel Angelo mind mode nature object observer obtained ornamental painter peculiar perfect pleasure portion practice principles produce propriety purposes qualities racter Raffaelle refined Rembrandt rendered Rubens scenes selection sense sentiment Sir Joshua Reynolds style taste Tintoretto tion Titian tone truth ture union variety Vatican Venetian Venetian school whilst wrought
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Страница 198 - Last noon beheld them full of lusty life, Last eve in Beauty's circle proudly gay, The midnight brought the signal-sound of strife, The morn the marshalling in arms - the day Battle's magnificently stern array...
Страница 195 - The other Shape — If shape it might be called that shape had none Distinguishable in member, joint, or limb...
Страница 196 - The other shape, If shape it might be called that shape had none Distinguishable, in member, joint, or limb; Or substance might be called that shadow seemed, For each seemed either; black he stood as night; Fierce as ten furies; terrible as hell; And shook a deadly dart. What seemed his head The likeness of a kingly crown had on.
Страница 312 - The poetry of Shakespear was inspiration indeed : he is not so much an imitator, as an instrument, of Nature ; and it is not so just to say that he speaks from her, as that she speaks through him.
Страница i - If to do were as easy as to know what were^ good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine that follows his own instructions: I can easier teach twenty what were good to be done, than be one of the twenty to follow mine own teaching.
Страница 251 - Yet nature is made better by no mean, But nature makes that mean: so, o'er that art, Which you say adds to nature, is an art That nature makes.
Страница 447 - Thus if .a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent. which has annexed to it no ideas of meanness from its being familiar to us.
Страница 197 - So spake the grisly terror, and in shape, So speaking and so threatening, grew tenfold More dreadful and deform. On...
Страница 370 - The common error that his colours all fail, ought by this time to be entirely effaced. It is too true that this is the case with the colouring of many pictures painted by him during a short period of his life; he thought that he had discovered a mode of rendering colouring more vivid, and employed it without duly considering the chemical qualities of his materials. But he was soon made acquainted with the mistake he had committed, reassumed his durable system with increased beauty and vigour, and...
Страница 343 - Consonance, or harmony of hue, consists in those colours being brought together, which, though they may not be placed exactly in the regular order seen in the rainbow or in the chromatic scale, yet act in accordance with each other upon the eye, and produce no uneasy sensations within it, but rather afford it pleasure.