The Family Library (Harper)., Band 181846 |
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THE SECOND VOLUME . Page 54 124 156 184 208 • 223 LIVES OF EMINENT PAINTERS . BENJAMIN WEST . THE life. CONTENTS OF BENJAMIN WEST . WILLIAM BLAKE JAMES BARRY JOHN OPIE • • • • • GEORGE MORLAND EDWARD BIRD . HENDY FUSELI • • 414215.
THE SECOND VOLUME . Page 54 124 156 184 208 • 223 LIVES OF EMINENT PAINTERS . BENJAMIN WEST . THE life. CONTENTS OF BENJAMIN WEST . WILLIAM BLAKE JAMES BARRY JOHN OPIE • • • • • GEORGE MORLAND EDWARD BIRD . HENDY FUSELI • • 414215.
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LIVES OF EMINENT PAINTERS . BENJAMIN WEST . THE life of West has been written by the inge- nious author of " Annals of the Parish , " with such minuteness of research and general accuracy of in- formation , that little may seem to be ...
LIVES OF EMINENT PAINTERS . BENJAMIN WEST . THE life of West has been written by the inge- nious author of " Annals of the Parish , " with such minuteness of research and general accuracy of in- formation , that little may seem to be ...
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... Benjamin . This made some impression on the mind of John West , and as the presumption of man generally in- terprets such occurrences in his own favour , he imagined that something more than common was indicated for the fortunes of the ...
... Benjamin . This made some impression on the mind of John West , and as the presumption of man generally in- terprets such occurrences in his own favour , he imagined that something more than common was indicated for the fortunes of the ...
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... Benjamin that he sent him a box of paints and pencils , with canvass prepared for the easel , and six engravings by Grevling . West placed the box on a chair at his bedside , and was unable to sleep . He rose with the dawn , carried his ...
... Benjamin that he sent him a box of paints and pencils , with canvass prepared for the easel , and six engravings by Grevling . West placed the box on a chair at his bedside , and was unable to sleep . He rose with the dawn , carried his ...
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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 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 131 - Drop thy pipe, thy happy pipe; Sing thy songs of happy cheer!" So I sang the same again, While he wept with joy to hear. "Piper, sit thee down and write In a book that all may read.
Seite 150 - So the Lord blessed the latter end of Job more than the beginning...
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 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 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 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.