The Life and Writings of Sir Joshua Reynolds: First President of the Royal AcademyBarnes & Burr, 1860 - 369 Seiten |
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Häufige Begriffe und Wortgruppen
acquired admiration Albert Durer ancient Annibale Caracci appear artist attention beauty Burke Carlo Maratti character Claude Lorrain coloring composition considered copy Correggio defects dignity DISCOURSE distinguished drapery drawing dress effect elegance eminent endeavor equal excellence exhibition expression fame figure finished Gainsborough genius give grace grandeur Guercino habit honor idea imagination imitation invention Johnson justly kind knowledge labor light and shadow living manner Masaccio masters means merit method Michael Angelo mind modern nature never Northcote object observed opinion ornaments painter painting passions Paul Veronese peculiar pencil perfect perhaps picture Pietro Perugino poet poetry portrait possessed Poussin practice principles produced Raffaelle Raphael reason recommend Rembrandt Reynolds Rome Royal Academy Rubens rules Sculptors seems sense simplicity Sir Joshua skill Students style suppose taste thing thought tion Titian true truth ture Venetian Venetian school vulgar whole wish
Beliebte Passagen
Seite 42 - The only dedication I ever made was to my brother, because I loved him better than most other men. He is since dead. Permit me to inscribe this Poem to you.
Seite 43 - 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...
Seite 35 - There is no excellent Beauty that hath not some strangeness in the proportion. A man cannot tell, whether Apelles or Albert Durer were the more trifler; whereof the one would make a personage by geometrical proportions, the other by taking the best parts out of divers faces to make one Excellent.
Seite 239 - ... due reward of his merit by the Wits of his time, who did not understand the principles of composition in poetry better than he ; and who knew little, or nothing, of what he understood perfectly, the general ruling principles of Architecture and Painting.
Seite 73 - 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. Raffaelle's materials are generally borrowed, though the noble structure is his own.
Seite 139 - Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 11, 1786.
Seite 89 - The mind is but a barren soil ; a soil which is soon exhausted, and will produce no crop, or only one, unless it be continually fertilized and enriched with foreign matter.
Seite 254 - Gainsborough's pictures, and which even to experienced painters appear rather the effect of accident than design ; this chaos, this uncouth and shapeless appearance, by a kind of magic, at a certain distance assumes form, and all the parts seem to drop into their proper places, so that we can hardly refuse acknowledging the full effect of diligence, under the appearance of chance and hasty negligence.
Seite 29 - I will now add, that Nature herself is not to be too closely copied. There are excellencies in the art of painting beyond what is commonly called the imitation of Nature ; and these excellencies I wish to point out.
Seite 83 - His talents of every kind — powerful from nature, and not meanly cultivated by letters — his social virtues in all the relations and in all the habitudes of life, rendered him the centre of a very great and unparalleled variety of agreeable societies, which will be dissipated by his death. He had too much merit not to provoke some jealousy, too much innocence to provoke any enmity. The loss of no man of his time can be felt with more sincere, general, and unmixed sorrow. "Hail! and farewell!