The Lives of the Most Eminent British Painters and Sculptors, Band 2Harper & brothers, 1859 |
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Ergebnisse 6-10 von 58
Seite 23
... drawings of some half - dozen of the best statues . Go to Florence and study in the galleries ; go to Bologna and study the works of the Carracci , and then proceed to Venice , and view the produc- tions of Tintoretti , Titian , and ...
... drawings of some half - dozen of the best statues . Go to Florence and study in the galleries ; go to Bologna and study the works of the Carracci , and then proceed to Venice , and view the produc- tions of Tintoretti , Titian , and ...
Seite 52
... drawings in his portfolio . His works were supposed by himself , and for a time by others , to be in the true spirit of the great masters , and he composed them with the serious ambition and hope of illustrating Scripture and rendering ...
... drawings in his portfolio . His works were supposed by himself , and for a time by others , to be in the true spirit of the great masters , and he composed them with the serious ambition and hope of illustrating Scripture and rendering ...
Seite 54
... ing sails , it was his pleasure to make sketches of the coast along which he sailed , or to draw groups and single figures upon the deck , to the amusement It was of the sailors and the vexation of his 54 EMINENT PAINTERS . JAMES BARRY.
... ing sails , it was his pleasure to make sketches of the coast along which he sailed , or to draw groups and single figures upon the deck , to the amusement It was of the sailors and the vexation of his 54 EMINENT PAINTERS . JAMES BARRY.
Seite 56
... draw from this sad scene is unjust to human nature . The evils , indeed , of weakness and want are not little ; they are an ill - matched pair , though often seen to- gether ; but weakness of body is frequently accom- panied by great ...
... draw from this sad scene is unjust to human nature . The evils , indeed , of weakness and want are not little ; they are an ill - matched pair , though often seen to- gether ; but weakness of body is frequently accom- panied by great ...
Seite 62
... genius , or indeed any thing else , only because it is less expensive than making them peruquiers or shoemakers . " With better sense , he continues , " drawing and modelling in the academy , with the assistance of a 62 EMINENT PAINTERS .
... genius , or indeed any thing else , only because it is less expensive than making them peruquiers or shoemakers . " With better sense , he continues , " drawing and modelling in the academy , with the assistance of a 62 EMINENT PAINTERS .
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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...