Lectures on the History and Principles of PaintingLongman, Rees, Orme, Brown, Green & Longman, 1833 - 477 страница |
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Страница viii
... composition . To this end I have directed my labours , and I flatter myself that I have added something of value to the in- formation they have afforded ; if not in exalted sentiment or in brilliant criticism , at least in ar- rangement ...
... composition . To this end I have directed my labours , and I flatter myself that I have added something of value to the in- formation they have afforded ; if not in exalted sentiment or in brilliant criticism , at least in ar- rangement ...
Страница xiv
... composition , it must be seen to be felt , or to be fully understood . Hence , doubtless , it arose , that when I beheld the works of the earlier painters , of Giotto more particularly , and saw so much expression of thought and of ...
... composition , it must be seen to be felt , or to be fully understood . Hence , doubtless , it arose , that when I beheld the works of the earlier painters , of Giotto more particularly , and saw so much expression of thought and of ...
Страница xxxi
... ( continued ) 91 LECTURE IV . The History of Painting , ( continued ) 143 LECTURE V. On Invention in Painting 187 APPENDIX TO LECTURE V. - 235 LECTURE VI . On Design 247 LECTURE VII . On Composition in Painting Page 289 LECTURE.
... ( continued ) 91 LECTURE IV . The History of Painting , ( continued ) 143 LECTURE V. On Invention in Painting 187 APPENDIX TO LECTURE V. - 235 LECTURE VI . On Design 247 LECTURE VII . On Composition in Painting Page 289 LECTURE.
Страница xxxii
Thomas Phillips. LECTURE VII . On Composition in Painting Page 289 LECTURE VIII . On Colouring 331 LECTURE IX . On Chiaro - Oscuro - 375 LECTURE X. On the Application of the Principles of Painting 419 LECTURE I. INTRODUCTION . - THE ...
Thomas Phillips. LECTURE VII . On Composition in Painting Page 289 LECTURE VIII . On Colouring 331 LECTURE IX . On Chiaro - Oscuro - 375 LECTURE X. On the Application of the Principles of Painting 419 LECTURE I. INTRODUCTION . - THE ...
Страница 17
... composition and drawing of many of the figures are elegant , and of a polished character in form , it does not appear that the artists who painted them en- deavoured to promote the cultivation of the art specifically ; but having ...
... composition and drawing of many of the figures are elegant , and of a polished character in form , it does not appear that the artists who painted them en- deavoured to promote the cultivation of the art specifically ; but having ...
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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
Популарни одломци
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.