The Lives of the Most Eminent British Painters and Sculptors, Band 2Harper & brothers, 1859 |
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Seite 32
... Royal Academy was planned . The Society of Incorporated Artists , of which he was a member , had grown rich by yearly exhibitions , and how to lay out this money became the subject of vehement debate . The architects were for a house ...
... Royal Academy was planned . The Society of Incorporated Artists , of which he was a member , had grown rich by yearly exhibitions , and how to lay out this money became the subject of vehement debate . The architects were for a house ...
Seite 33
... academy , and in his inaugural address from the chair , he as- sured his ... royal carver and gilder . " To this impertinence the King answered , with ... Royal Academy . " The President of the Associated Artists bowed with much humility ...
... academy , and in his inaugural address from the chair , he as- sured his ... royal carver and gilder . " To this impertinence the King answered , with ... Royal Academy . " The President of the Associated Artists bowed with much humility ...
Seite 34
... Royal Academy was founded , and in its first exhibition appeared the Regulus . A change was now to be effected in the character of British art ; hitherto historical painting_had ap- peared in a masking habit : the actions of English ...
... Royal Academy was founded , and in its first exhibition appeared the Regulus . A change was now to be effected in the character of British art ; hitherto historical painting_had ap- peared in a masking habit : the actions of English ...
Seite 40
... royal favour was much ; and he had besides a certain quiet air of natural dignity in his manner . The death of ... Academy the king gave his ready sanction , and West took his place on the 24th of March , 1792 , and delivered his ...
... royal favour was much ; and he had besides a certain quiet air of natural dignity in his manner . The death of ... Academy the king gave his ready sanction , and West took his place on the 24th of March , 1792 , and delivered his ...
Seite 45
... Academy I have been zealous in promoting merit ; ingenious artists have received my ready aid , and my galleries and ... royal , patron . But he continued to execute the pictures , and , in the usual quarterly payments , received his ...
... Academy I have been zealous in promoting merit ; ingenious artists have received my ready aid , and my galleries and ... royal , patron . But he continued to execute the pictures , and , in the usual quarterly payments , received his ...
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Häufige Begriffe und Wortgruppen
admired Amelia Opie appeared artist Barry Barry's beauty Benjamin West Bird Blake brethren Burke called character colours companion compositions copy death Domenichino drawing easel eminent engravings excellence exclaimed exhibited eyes fame fancy father feeling Felpham finished formed fortune friends Fuseli gallery genius GEORGE MORLAND grace grave guineas hand happy Hassell Henry Fuseli historical honour imagination imbodied invention kind King labour lived London looked Lord Lord Grosvenor Majesty master merit Michael Angelo Milton mind Morland nation nature never Opie original painter painting pencil person picture Pindar poet poetic poetry portrait praise Prince Hoare productions Quaker racter Raphael Rembrandt Reynolds Rome Royal Academy says scene seemed Shakspeare Sir Joshua Sir Joshua Reynolds Sistine Chapel sketches skill spirit talents taste temper thing thought tion Titian tures visions West wife wild wish Wolcot young
Beliebte Passagen
Seite 126 - What the hammer? What the chain? In what furnace was thy brain? What the anvil? What dread grasp Dare its deadly terrors clasp? When the stars threw down their spears, And water'd heaven with their tears, Did He smile His work to see? Did He who made the lamb make thee...
Seite 125 - Whether in Heaven ye wander fair, Or the green corners of the earth, Or the blue regions of the air Where the melodious winds have birth...
Seite 131 - PIPING down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me: 'Pipe a song about a Lamb!
Seite 126 - TIGER! Tiger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder, and what art, Could twist the sinews of thy heart?
Seite 150 - So the Lord blessed the latter end of Job more than the beginning...
Seite 142 - This is an awful thing to say to oil painters ; they may call it madness, but it is true. All the genuine old little pictures, called cabinet pictures, are in fresco and not in oil.
Seite 141 - Colouring does not depend on where the Colours are put, but on where the lights and darks are put, and all depends on Form or Outline. On where that is put; where that is wrong, the Colouring never can be right; and it is always wrong in Titian and Correggio, Rubens and Rembrandt.
Seite 232 - Peter's, scattered into infinity of jarring parts by Bramante and his successors, he concentrated ; suspended the cupola, and to the most complex gave the air of the most simple of edifices.
Seite 144 - How do we distinguish the oak from the beech, the horse from the ox, but by the bounding outline? How do we distinguish one face or countenance from another, but by the bounding line and its infinite inflexions and movements?
Seite 143 - The characters of Chaucer's Pilgrims are the characters which compose all ages and nations: as one age falls, another rises, different to mortal sight, but to immortals only the same; for we see the same characters repeated again and again, in animals, vegetables, minerals, and in men; nothing new occurs in identical existence; Accident ever varies, Substance can never suffer change nor decay. Of Chaucer's characters, as described in his Canterbury Tales...