 | Alexander Pope - 1926 - 310 Seiten
...the Grand Style meant the painting of ideal beauty ; the painter, he said, "must transcend reality ; and what may seem a paradox, he learns to design naturally by drawing his figures unlike to any one object. The idea of the perfect state of Nature, which the artist calls the ideal beauty, is the great leading... | |
 | Alexander Pope - 1926 - 306 Seiten
...the Grand Style meant the painting of ideal beauty ; the painter, he said, "must transcend reality ; and what may seem a paradox, he learns to design naturally by draw-^ ing his figures unlike to any one object. The idea of 7 * , the perfect state of Nature, which... | |
 | Meyer Howard Abrams - 1971 - 420 Seiten
...long habit of observing what any set of objects of the same kind have in common,' which will result ha 'an abstract idea of their forms more perfect than any one original. . .'** Emphasis on the intellectual location of artistic ideas accustomed critics to the concept of... | |
 | James Carson Webster, Erastus Dow Palmer - 1983 - 340 Seiten
...its forms, during which he is to weed out and discard their "imperfections," and in the end to make out "an abstract idea of their forms more perfect than any one original."1' This amounts to an averaging of the individuals seen, which is very different from Palmer's... | |
 | Joshua C. Taylor - 1987 - 580 Seiten
...or imperfection. Minuteness is their whole Beauty This idea [acquired by habit of observing] . . . which the Artist calls the Ideal Beauty, is the great leading principle. . . . Knowledge of Ideal Beauty is Not to be Acquired. It is Born with us. Innate Ideas are in Every... | |
 | H. B. Nisbet, Claude Rawson - 2005 - 978 Seiten
...accidental deficiencies, excrescences, and deformities of things, from their general figures, he makes out an abstract idea of their forms more perfect than any one original' (no. Ill, p. 44). Neither Locke nor Johnson would equate particularity with deformity and abstraction... | |
 | George J. Leonard - 1995 - 269 Seiten
...enabled to distinguish the accidental deficiencies, excrescences, and deformities of things ... he makes out an abstract idea of their forms more perfect than any one original; . . . this idea of the perfect state of nature, which the Artist calls the Ideal Beauty, is the great... | |
 | Ian Bent - 1994 - 404 Seiten
...accidental deficiencies, excrescences and deformities of things, from their general figures', and make out 'an abstract idea of their forms more perfect than any one original'.6 The concept of grandeur was of central importance in art theory: the art historian Giovanni... | |
 | Mary J. Russo - 1995 - 252 Seiten
...deficiencies, excrescences, and deformities oI things from their general figures, he makes out an ahstract idea of their forms more perfect than any one original...may seem a paradox, he learns to design naturally hy drawing his figures unlike any one ohject. The idea of the perfect state of nature, which the Artist... | |
 | Joseph Goguen, Erik Myin - 1999 - 214 Seiten
...get above all singular forms, local customs, particularities of every kind. . . . [The painter] makes out an abstract idea of their forms more perfect than any one original' (Constable, 1836), the 'abstract idea' presumably being Constable's term for the Platonic Ideal. There... | |
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By this means, he acquires a just idea of beautiful forms; he corrects Nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences, and deformities of things, from their general... 
