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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 finished formed fortune friends Fuseli gallery genius George Morland grace guineas hand happy Hassell Henry Fuseli historical honour imagination imbodied invention James Barry kind King knew labour lived London looked Lord Majesty master merit Michael Angelo Milton mind Morland nature never Opie original painter painting pawnbroker pencil person picture Pindar poet poetic poetry portrait praise Prince Hoare productions purchased 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 West wife wild wish Wolcot young
Seite 72 - Barry, that the arms with which the ill dispositions of the world are to be combated, and the qualities by which it is to be reconciled to us, and we reconciled to it, are moderation, gentleness, a little indulgence to others, and a great deal of distrust of ourselves ; which are not qualities of a mean spirit, as some may possibly think them ; but virtues of a great and noble kind, and such as dignify our nature, as much as they contribute to our repose and fortune; for nothing can be so unworthy...
Seite 232 - In painting, he contented himself with negative colour, and as the painter of mankind, rejected all meretricious ornament. The fabric of St. Peter, scattered into infinity of jarring parts by Bramanti and his successors, he concentrated, suspended the cupola, and to the most complex gave the air of the most simple of edifices.
Seite 137 - but not before last night. I was walking alone in my garden, there was great stillness among the branches and flowers, and more than common sweetness in the air ; I heard a low and pleasant sound, and knew not whence it came.
Seite 34 - When it was understood," said the artist, "that T intended to paint the characters as they had actually appeared on the scene, the Archbishop of York called on Reynolds, and asked his opinion; they both came to my house to dissuade me from running so great a risk. Reynolds began a very ingenious and elegant dissertation on the state of the public taste in this country, and the danger which every innovation incurred of contempt and ridicule, and concluded by urging...
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...
Seite 143 - Belvidere, and all the grand works of ancient art. They were executed in a very superior style to those justly admired copies, being with their accompaniments terrific and grand in the highest degree. The Artist has endeavoured to emulate the grandeur of those seen in his vision, and to apply it to modern Heroes, on a smaller scale.
Seite 231 - A beggar rose from his hand the patriarch of poverty ; the hump of his dwarf is impressed with dignity ; his women are moulds of generation ; his infants teem with the man ; his men are a race of giants. This is the