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acquired admirable Albert Durer ancient appear artist attain attention Burke called Carlo Maratti character Claude Lorrain colours composition considered contrary copy Correggio defects dignity Discourses distinguished drapery drawing dress Earl Edmond Malone effect elegance endeavour equal excellence exhibited expression figures genius gentlemen give grace grandeur Gwatkin habit honour imagination imitation invention Johnson judgement justly kind labour learned light Lodovico Caracci Lord manner masters means ment merit Michael Angelo mind models modern nature never object observed opinion ornaments painter painting passions Paul Veronese peculiar Pellegrino Tibaldi perfection perhaps Phidias picture pleasure poet portraits possessed Poussin practice precepts prejudices principles produced publick racter Raffaelle reason Rembrandt ROYAL ACADEMY Rubens rules schools simplicity Sir Joshua Reynolds spectator Student style suppose taste thing thought Tintoret tion Titian truth ture Vandyck variety Venetian Venetian School Veronese whole
Стр. xc - 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...
Стр. 70 - He will permit the lower painter, like the florist or collector of shells, to exhibit the minute discriminations, which distinguish one object of the same species from another ; while he, like the philosopher, will consider nature in the abstract, and represent in every one of his figures the character of its species.
Стр. 58 - All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects.
Стр. 195 - To understand literally these metaphors, or ideas expressed in poetical language, seems to be equally absurd as to conclude that because painters sometimes represent poets writing from the dictates of a little winged boy or genius, that this same genius did really inform him in a whisper what he was to write; and that he is himself but a mere machine, unconscious of the operations of his own mind.
Стр. xxix - their excellence and their value consisted in being the observations of a strong mind operating upon life ; and in consequence you find there what you seldom find in other books.
Стр. xvi - I found myself in the midst of works executed upon principles with which I was unacquainted : I felt my ignorance and stood abashed. All the indigested notions of painting which I had brought with me from England, where the art was in the lowest state it had ever been in, (it could not indeed be lower,) were to be totally done away, and eradicated from my mind. It was necessary, as it is expressed on a very solemn occasion, J that I should become as a little child.
Стр. 11 - 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.
Стр. 79 - HE value and rank of every art is in proportion to the mental labour employed in it, or the mental pleasure produced by it. As this principle is observed or neglected, our profession becomes either a liberal art, or a mechanical trade.
Стр. 67 - Painting; the painter must never mistake this capricious changeling for the genuine offspring of nature; he must divest himself of all prejudices in favour of his age or country; he must disregard all local and temporary ornaments, and look only on those general habits which are every where and always the same.