Lectures on PaintingH.G. Bohn, 1848 - 567 Seiten The library also has an ed. published: London : G. Bell, 1885. |
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... LECTURES OF JAMES BARRY . Page 1 LECTURE I. On the History and Progress of the Art II . On Design 56 90 III . On Design ( continued ) 118 IV . On Composition · 152 V. On Chiaroscuro 176 VI . On Colouring 205 THE LECTURES OF JOHN OPIE .
... LECTURES OF JAMES BARRY . Page 1 LECTURE I. On the History and Progress of the Art II . On Design 56 90 III . On Design ( continued ) 118 IV . On Composition · 152 V. On Chiaroscuro 176 VI . On Colouring 205 THE LECTURES OF JOHN OPIE .
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James Barry, John Opie, Henry Fuseli Ralph Nicholson Wornum. THE LECTURES OF HENRY FUSELI — ( continued ) . LECTURE V. Composition . — Expression VI . Chiaroscuro - VII . On Design VIII . Colour . Fresco Painting - Page 460 477 - 490 ...
James Barry, John Opie, Henry Fuseli Ralph Nicholson Wornum. THE LECTURES OF HENRY FUSELI — ( continued ) . LECTURE V. Composition . — Expression VI . Chiaroscuro - VII . On Design VIII . Colour . Fresco Painting - Page 460 477 - 490 ...
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... . 36 . £ 243 15s . according to Hussey : Aratus , 12 . 4 † See Fuseli's first lecture , note . other computations make it less . Lanzi . Storia Pittorica . artists who migrated into the West of Europe , after 2 INTRODUCTION .
... . 36 . £ 243 15s . according to Hussey : Aratus , 12 . 4 † See Fuseli's first lecture , note . other computations make it less . Lanzi . Storia Pittorica . artists who migrated into the West of Europe , after 2 INTRODUCTION .
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Häufige Begriffe und Wortgruppen
action admirable Agostino Carracci ancient Annibale Carracci antique Apelles appears artist attention beauty body called Carracci cartoon celebrated character chiaroscuro Cimabue colour composition considered Correggio dark degree dignity Domenichino drapery drawing effect energy equally established Eupompus excellence execution exhibition expression figures frescoes gallery genius Giorgione give grace grandeur Greeks hand harmony honour hues human idea imitation invention judgment labour lectures Leonardo Leonardo da Vinci less light and shade Lodovico Carracci manner masses master means ment Michelangelo mind nature never objects observed painter painting Paolo Veronese passion Pellegrino Tibaldi perfection perhaps Phidias picture Pliny Polygnotus possessed Poussin powers principle produced proportion propriety racter Raphael Rembrandt Reynolds rilievo Roman Rome Royal Academy Rubens says sculpture sentiment shadow society style of design sublime taste thing Timanthes Tintoretto tints tion Titian tone truth variety Vasari Venetian vigour Vinci whilst whole Zeuxis
Beliebte Passagen
Seite 31 - The king has lately been pleased to make me Professor of Ancient History in a royal Academy of Painting, which he has just established, but there is no salary annexed ; and I took it rather as a compliment to the institution than any benefit to myself. Honours to one in my situation are something like ruffles to a man that wants a shirt.
Seite 60 - And they said, Go to, let us build us a city, and a tower, whose top may reach unto heaven ; and let us make us a name, lest we be scattered abroad upon the face of the whole earth.
Seite 98 - And therefore it was ever thought to have some participation of divineness, because it doth raise and erect the mind, by submitting the shows of things to the desires of the mind ; whereas reason doth buckle and bow the mind unto the nature of things.
Seite 270 - ... with all the modes of life. His character requires that he estimate the happiness and misery of every condition; observe the power of all the passions in all their combinations, and trace the changes of the human mind as they are modified by various institutions and accidental influences of climate or custom, from the sprightliness of infancy to the despondence of decrepitude.
Seite 98 - The use of this feigned history hath been to give some shadow of satisfaction to the mind of man in those points wherein the nature of things doth deny it, the world being in proportion inferior to the soul ; by reason whereof there is, agreeable to the spirit of man, a more ample greatness, a more exact goodness, and a more absolute variety, than can be found in the nature of things.
Seite 262 - ... great labour ; and yet he, of all men that ever lived, might make the greatest pretensions to the efficacy of native genius and inspiration.
Seite 334 - Lorrain finished more minutely, as becomes a Professor in any particular branch, yet there is such an airiness and facility in the landscapes of Rubens, that a painter would as soon wish to be the author of them, as those of Claude, or any other artist whatever.
Seite 96 - ... best parts out of divers faces to make one excellent. Such personages, I think, would please nobody but the painter that made them; not but I think a painter may make a better face than ever was; but he must do it by a kind of felicity (as a musician that maketh an excellent air in music), and not by rule. A man shall see faces, that, if you examine them part by part, you shall find never a good; and yet altogether do well.
Seite 494 - ... great prerogative consisted more in the unison than in the extent of his powers : he knew better what he could do, what ought to be done, at what point he could arrive, and what lay beyond his reach, than any other artist. Grace of conception and refinement of taste were his elements, and went hand in hand with grace of execution and taste in finish, powerful and seldom possessed singly, irresistible when united...
Seite 516 - ... subject on himself. The last manner belongs properly to the ornamental style, which we call the Venetian, being first practised at Venice, but is perhaps better learned from Rubens : here the brightest colours possible are admitted, with the two extremes of warm and cold, and those reconciled by being dispersed over the picture, till the whole appears like a bunch of flowers.