The Discourses of Sir Joshua ReynoldsJames Carpenter, 1824 - 279 страници |
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Страница 1
... united sense of so considerable a BODY of ARTISTS . I am , With the greatest esteem and respect , GENTLEMEN , Your most humble , and obedient Servant , JOSHUA REYNOLDS . B DISCOURSE I. [ DELIVERED AT THE OPENING OF THE ROYAL.
... united sense of so considerable a BODY of ARTISTS . I am , With the greatest esteem and respect , GENTLEMEN , Your most humble , and obedient Servant , JOSHUA REYNOLDS . B DISCOURSE I. [ DELIVERED AT THE OPENING OF THE ROYAL.
Страница 19
... greatest minds has imparted to him , will display itself in all his attempts ; and he will stand among his instructors , not as an imitator , but a rival . These are the different stages of the Art . But as I now address myself ...
... greatest minds has imparted to him , will display itself in all his attempts ; and he will stand among his instructors , not as an imitator , but a rival . These are the different stages of the Art . But as I now address myself ...
Страница 25
... their most colossal figures the greatest appearance of action , and lightness of effect . The limbs of the antique , and of the figures of Michael Angelo , E is to be seen and criticised by them when completed THE SECOND DISCOURSE . 25.
... their most colossal figures the greatest appearance of action , and lightness of effect . The limbs of the antique , and of the figures of Michael Angelo , E is to be seen and criticised by them when completed THE SECOND DISCOURSE . 25.
Страница 28
... greatest perfection : light and shade , and colour demand too great a sacrifice for the purposes of breadth and harmony , and gratify the eye too much at the expense of men- It is our misfortune , however , that those works 28 THE ...
... greatest perfection : light and shade , and colour demand too great a sacrifice for the purposes of breadth and harmony , and gratify the eye too much at the expense of men- It is our misfortune , however , that those works 28 THE ...
Страница 31
... greatest school for colour at present extant , partakes largely of the defects of those schools , where the pencil was speedily adopted to the exclusion of the port - crayon . vain , the ignorant , and the idle . I THE SECOND DISCOUrse .
... greatest school for colour at present extant , partakes largely of the defects of those schools , where the pencil was speedily adopted to the exclusion of the port - crayon . vain , the ignorant , and the idle . I THE SECOND DISCOUrse .
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Academy acquired admirable advantage Albert Durer ancient antique appear artist attention beauty Carlo Maratti character Claude Lorrain colour composition considered contrary Correggio criticism defects degree dignity discourse drapery drawing dress effect elegance Elymas endeavour equal excellence exhibit expression figures finished Gainsborough genius give grace grandeur greater greatest habit higher highest idea imagination imitation instance invention justly kind knowledge labour landscape light and shade manner Marriage at Cana Masaccio masters means method Michael Angelo mind mode modern nature necessary never object observed opinion original ornaments painter painting passions Paul Veronese peculiar perfection perhaps picture Pietro Perugino poet poetry portraits possess Poussin practice principles produced racter Raffaelle reason Rembrandt Reynolds Roman school Rubens rules says sculpture seems shadow simplicity spectator student style sublime taste thing thought Tintoret Titian true truth Vandyck variety Venetian Venetian school Veronese vulgar whole wish
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Страница 161 - And worthy seemed, for in their looks divine The image of their glorious Maker shone, Truth, wisdom, sanctitude severe and pure, Severe, but in true filial freedom placed; Whence true authority in men; though both Not equal, as their sex not equal seemed; For contemplation he and valour formed, For softness she and sweet attractive grace, He for God only, she for God in him...
Страница 220 - Or ounce, or tiger, hog, or bearded goat, All other parts remaining as they were ; And they, so perfect is their misery, Not once perceive their foul disfigurement, But boast themselves more comely than before ; And all their friends and native home forget, To roll with pleasure in a sensual sty.
Страница 232 - He the best player!" cries Partridge, with a contemptuous sneer, "why, I could act as well as he myself. I am sure, if I had seen a ghost, I should have looked in the very same manner, and done just as he did.
Страница 42 - 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.
Страница 96 - Invention is one of the great marks of genius ; but if we consult experience, we shall find that it is by being conversant with the inventions of others, that we learn to invent : as by reading the thoughts of others, we learn to think.
Страница 32 - You must have no dependence on your own genius. If you have great talents, industry will improve them : if you have but moderate abilities, industry will supply their deficiency. Nothing is denied to well-directed labour : nothing is to be obtained without it.
Страница 233 - Shakespeare that he assumes as an unquestionable principle a position which, while his breath is forming it into words, his understanding pronounces to be false. It is false that any representation is mistaken for reality, that any dramatic fable in its materiality was ever credible, or, for a single moment, was ever credited.
Страница 81 - Mankind, who by the mere Strength of natural Parts, and without any Assistance of Art or Learning, have produced Works that were the Delight of their own Times and the Wonder of Posterity.
Страница 33 - He thinks in a peculiar train, and he thinks always as a man of genius; he looks round on Nature and on Life with the eye which Nature bestows only on a poet...
Страница 40 - I have here offered, than that music, architecture, and painting, as well as poetry and oratory, are to deduce their laws and rules from the general sense and taste of mankind, and not from the principles of those arts themselves ; or, in other words, the taste is not to conform to the art, but the art to the taste.