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acquired admirable afterwards Albert Durer ancient Annibale Caracci appear artist attain attention Burke called Carlo Maratti character Claude Lorrain colours composition considered contrary copy Correggio defects dignity Discourses distinguished drapery drawing dress Duke Earl Edmond Malone effect elegance endeavour equal excellence exhibited expression figures genius GENTLEMEN give grace grandeur Gwatkin habit honour imagination imitation Inchiquin invention Jervais Johnson judgement justly kind labour learned light Lord manner masters means merit Michael Angelo mind models nature never object observed opinion ornaments painter painting passions Paul Veronese peculiar perfection perhaps Phidias Philip Metcalfe 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 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. 129 - I am persuaded, that scarce a poet is to be found, from Homer down to Dry den, who preserved a sound mind in a sound body, and continued practising his profession to the very last, whose latter works are not as replete with the fire of imagination, as those which were produced in his more youthful days.
Стр. 91 - Unsubstantial, however, as these rules may seem, and difficult as it may be to convey them in writing, they are still seen and felt in the mind of the artist; and he works from them with as much certainty as if they were embodied, as I may say, upon paper.
Стр. cxxi - Sir Joshua Reynolds was, on very many accounts, one of the most memorable men of his time. He was the first Englishman who added the praise of the elegant arts to the other glories of his country. In taste, in grace, in facility, in happy invention, and in the richness and harmony of colouring, he was equal to the great masters of the renowned ages.
Стр. 65 - Michael Angelo's works have a strong, peculiar, and marked character: they seem to proceed from his own mind entirely, and that mind so rich and abundant, that he never needed, or seemed to disdain, to look abroad for foreign help. Raphael's materials are generally borrowed, though the noble structure is his own.
Стр. xiii - It is much to be regretted that he did not live to compose such a Discourse ; for, from the hand of so great and candid an Artist, it could not but have been highly curious and instructive.
Стр. xvi - 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.
Стр. 128 - We will allow a poet to express his meaning, when his meaning is not well known to himself, with a certain degree of obscurity, as it is one source of the sublime. But when, in plain prose, we gravely talk of courting the Muse in shady bowers; waiting the call and inspiration of genius, finding out where he inhabits, and where he is to be invoked with the greatest success...