The literary works [&c.]. In which is included a memoir by J. Farington, Том 3 |
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Стр. 18
... noble and excellent ideas , and the latter instructing the former to paint with greater expedition and ease . Poetry shared with Painting the time and thoughts of Du Fresnoy , who , as he pene- trated into the secrets of the latter art ...
... noble and excellent ideas , and the latter instructing the former to paint with greater expedition and ease . Poetry shared with Painting the time and thoughts of Du Fresnoy , who , as he pene- trated into the secrets of the latter art ...
Стр. 20
... noble Venetian , and a Madonna , a half- length . These pictures showed that he had not studied those of Titian without success . Here the two friends separated , Mignard returning to Rome , and Du Fresnoy to France . He had read his ...
... noble Venetian , and a Madonna , a half- length . These pictures showed that he had not studied those of Titian without success . Here the two friends separated , Mignard returning to Rome , and Du Fresnoy to France . He had read his ...
Стр. 74
... noble outlines must be chaste , yet free , 575 Connected all with studied harmony : Luminis umbrarumque tonis æqualia cuncta ; Fœda , cruenta , cruces , obscoena , ingrata , chimeras , Sordidaque et misera , et vel acuta , vel aspera ...
... noble outlines must be chaste , yet free , 575 Connected all with studied harmony : Luminis umbrarumque tonis æqualia cuncta ; Fœda , cruenta , cruces , obscoena , ingrata , chimeras , Sordidaque et misera , et vel acuta , vel aspera ...
Стр. 118
... noble part of the art , which ought to be attributed to the mind or understanding , according to which it is more or less delicate . " I think Fresnoy has hinted the very same thing more than once ; and , perhaps , like Coypel , lays ...
... noble part of the art , which ought to be attributed to the mind or understanding , according to which it is more or less delicate . " I think Fresnoy has hinted the very same thing more than once ; and , perhaps , like Coypel , lays ...
Стр. 199
... noble Arts , the studies of Humanity , and other Sciences . It began to appear again in the year 1450 , amongst some Painters of Florence , of which Domenico Ghirlandaio was one , who was Master to Michael Angelo , and had some kind of ...
... noble Arts , the studies of Humanity , and other Sciences . It began to appear again in the year 1450 , amongst some Painters of Florence , of which Domenico Ghirlandaio was one , who was Master to Michael Angelo , and had some kind of ...
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admirable Æneas Aged Principal Albert Durer ancient Andrea Antonio Antwerp Apelles appear ART OF PAINTING Artist atque Bagnacavallo beauty Bologna History called Caracci Caravaggio charms colorum colours composition Correggio detto Domenichino Domenico drapery Epic expression figures finishing forms Francesco Fresnoy genius Giacomo Giottino Giov Giovanni Girolamo give glow grace Guercino Guido hand Hannibal hero History Bologna History Florence History History Rome idea Il Bronzino imitated judgement Julio Romano Landsc light and shade Ludovico Carracci manner Master Michael Angelo mind nature noble NOTE ornamental Painted Country Painter Parma passions Paul Brill Paul Veronese perfect Perin del Vaga picture Pietro Pietro Perugino pleasing Poem Poet Poetry Portraits precept Prospero Fontana quæ Quæque Rafaëlle Raffaelle Rome Rubens rules Sculpture shadow Sienna Studied under Excelled style tabula taste things Tintoret tints tion Titian Tragedy translation Udina Venice Veronese VERSE Virgil whole
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Стр. 255 - They present us with images more perfect than the life in any individual, and we have the pleasure to see all the scattered beauties of nature united by a happy chemistry without its deformities or faults. They are imitations of the passions which always move, and therefore consequently please ; for without motion there can be no delight, which cannot be considered but as an active passion. When we view these elevated ideas of nature, the result of that view is admiration, which is always the cause...
Стр. 269 - Preserved; but I must bear this testimony to his memory, that the passions are truly touched in it, though, perhaps there is somewhat to be desired both in the grounds of them, and in the height and elegance of expression ; but nature is there, which is the greatest beauty.
Стр. 289 - Helen thy Bridgewater vie, And these be sung till Granville's Myra die : Alas ! how little from the grave we claim ! Thou but preserv'st a face, and I a name.
Стр. 254 - ... since a true knowledge of nature gives us pleasure, a lively imitation of it, either in poetry or painting, must of necessity produce a much greater: for both these arts . . . are not only true imitations of nature, but of the best nature, of that which is wrought up to a nobler pitch.
Стр. 72 - The portrait claims from imitative art Resemblance close in each minuter part, 540 And this to give, the ready hand and eye With playful skill the kindred features ply ; From part to part alternately convey The harmonizing gloom, the darting ray, With tones so just, in such gradation thrown, 545 Adopting Nature owns the work her own. 0 Say, is the piece thy hand prepares to trace Ordain...
Стр. 216 - Poem. There is a charm in that great writer's prose peculiar to itself; and though, perhaps, the parallel between the two arts, which he has here drawn, be too superficial to stand the test of strict criticism, yet it will always give pleasure to readers of taste, even when it fails to satisfy their judgment.
Стр. 286 - Fir'd with ideas of fair Italy. With thee on Raphael's monument I mourn, Or wait inspiring dreams at Maro's urn : With thee repose where Tully once was laid, Or seek some ruin's formidable shade. While fancy brings the vanish'd piles to view, And builds imaginary Rome anew...
Стр. 35 - Then let the virgin canvass smooth expand, To claim the sketch, and tempt the Artist's hand. I wish to understand the last line as recommending to the artist to paint the sketch previously on canvass, as was the practice with Rubens. This method of painting the sketch, instead of merely drawing it on paper, will give a facility in the management of colours, and in the handling, which the Italian...
Стр. 148 - L 2 the picture, leaving the white paper untouched to represent the light, and this without any attention to the subject, or to the drawing of the figures.
Стр. 149 - ... on every side, it will appear as if inlaid on its ground. Such a blotted paper, held at a distance from the eye, will strike the spectator as something excellent for the disposition of light and shadow, though he does not distinguish whether it is a history, a portrait, a landscape, dead game, or any thing else ; for the same principles extend to every branch of the art. Whether I have given an exact account, or made a just division of the quantity of light admitted into the works of those painters,...