« ПредыдущаяПродолжить »
Carlo Maratti, his opinion as to Drapery, i. 351.
his defect in colouring, i. 454.
Character, locality of, fault of introducing, i. 358.
perfect, unfriendly to Painting and Poetry, ii. 152.
Churches, arguments in favour of ornamenting them with Paint-
Cignani, Carlo, his Ascension of the Virgin, condemned, ii. 213.
Colours, how arranged on Sir Joshua's Palette - remarks on
Colouring, Art of, not to be attained solely by copying, i. 319, 320.
shua, 87, 88. 211, 212.
the third part of Painting, ii. 274.
reflection of Colours, ii. 278.
Rules with respect to, i. 349. ; ii. 274. &c.—As to the
- Contiguous and
Cautions as to excellence in, i. 357.; ii. 351. See Style,
Splendour of; Rubens.
essentially requisite in flower-painting, i. 360.
of old Pictures, how to be considered, i. 320.
of the Venetian School, faults of, i. 354.-Excellencies
of, ii. 349, 350.
of Le Brun and Carlo Maratti, defects of, i. 454.
number of Colours to be used, ii. 329.
harmony of; the various modes of producing, in the
Roman, Bolognian, and Venetian style, ii. 337. 340.
compared to expression in Poetry, ii. 412.
Contrast, to be managed skilfully, i. 449. ; ii. 265–267.
the use and abuse of, i. 318,
practice of, how to be regulated and made the means
Correctness, the essential beauty of Sculpture, ii. 336.
Correggio, contrasted with Rubens, ii. 235.
his character, ii. 294. 351. 372.
Coxis, his Christ mocked by the Jews, praised, ii. 149.
Coypell, his Picture of The Deity, censured, i. 445.
Crayer, Gasp. de, a large Picture of his in the Dusseldorp Gallery,
Criticism, false, instances of. See Connoisseurs; Bacon; Dupiles ;
true, ground of, ii. 61. 344.
Cuyp, a good Picture of his at Mr. Hope's, Amsterdam, ii. 199.
Danoot, Mr., his Cabinet of Paintings at Brussels, ii. 149.
Deity, personification of, ii. 352. See Coypell.
Rubens, ii. 171.
by Michael Angelo, praised, ii. 124.-by
Dense bodies, how to be painted, as distinct from pellucid; as in
Design, in Painting, a matter of judgment, in which facility is
assisted by sketches, ii. 46. See Sketches and Copies, ii. 46.
the second part of Painting, ii. 262.
De Vos, Simon, an excellent Portrait-painter, ii. 170.
Dexterity in Painting, what, ii. 25.
its value and effect, ii. S2. 173, 174. 286.
Diligence, requisite to perfection in Painting, i. 309–311. 324.
but under certain restrictions, i. 311.; ii. 35.
false, instances of, ii. 35. 42. 286. See Genius.
Delivery of the last discourse, in which Sir Joshua
Remarks on the admiration of Michael Angelo, er-
Sir Joshua Reynolds's, reason and origin of, ii. 100
Disposition, or economy of the whole, în Painting, ii. 337.
Domenichino, his Susanna, in the Dusseldorp Gallery, ii. 213.
Dow, Gerard, Pictures by, ii. 201. 203.
his Mountebank, in the Dusseldorp Gallery, con-
demned, ii. 212.
in Sculpture, remarks on, ii. 14. &c.
Drapery Painters.-Sir Joshua employs several Artists of this de-
Drawings. See Sketches.
Dress, unfriendly to true taste, in the Painter or Sculptor, i. 419. ;
of Taste in, i. 430.
- Its effect on Painting, i. 431.
Dupiles, instance of his false criticism, i. 444.
Durer, Albert, cause of his defects, i. 341. ; ii. 375.
Dusseldorp Gallery, Pictures in, ii. 208-224.
Eckhout, an imitator of Rembrandt, ii. 203.
Engravings, observations on their differing from the Paintings they
Enthusiasm, danger of, i. 321. 331.-Good effect of, ii. 85.
Examples. See Copying; Imitation.
Excellencies inferior, when necessary, i. 360, 361.
superior, the great object of attention, i. 365. 379.
387.-In what they consist, i. 367. ; ii. 285.
various, union of, how far practicable, i. 363-368.;
contrary, absurd to suppose them to exist together,
choice of, how to be made, i. 367. 387.
subordination of, i. 368.
Exhibitions. First Public Exhibition of the Works of British
Preface to the Catalogue of the second Exhibition by
Attention of Sir Joshua to the Annual Exhibitions-
different periods, i. 234.
- Application of those receipts by the Members of
the Academy, i. 336,
Pictures which attracted most attention at the first
Merit of the Royal Academy in contriving and pro-
Facility in drawing, how to be acquired, i. 324.; ii. 387. See
Falconet, his Criticism on the Agamemnon of Timanthus, i. 461,
Fame, love of, in Painters, how to be regulated, i. 379.
Felibien, a false criticism of his, i. 452.
Feti, Domenico, a slight resemblance between his Paintings and
Field of a Picture, what, and how to be coloured, ii. 280. See
Fielding, his complaint to Garrick, censured, ii. 71.
Figure, single, how to be painted, ii. 268. 323.
Figures, what number of, necessary in historical pieces, i. 354.;
disposition of, ii. 265. See Principal Figure.
in Painting, how far to be studied or neglected, ii. 29.
First thoughts never to be forgotten, ii. 62.
Florence. Stay of Reynolds at that capital-proceeds to Bo-
Flowers, utility of Painting, and the best Painters of, i. 360.;
Formality, to be avoided in Painting, ii. 266.
Forman, Helena (or Eleanor), Portrait of, by Rubens, ii. 188.
Frank, Francis, his Christ among the Doctors, ii. 161.
Fresco, principal works of modern art are painted in, i. 369.
Sir Joshua employed in com.
posing the notes to Mason's translation of Du Fresnoy's Art of
Painting, i. 243.
Fresnoy, Pictures by, ii. 250.
Gainsborough, reasons for praising, ii. 80.
Eulogy on, and anecdotes of, ii. 82. &c.
his works appear to
Gaudy, William, an Artist of Devonshire -
Death of observations of Sir Joshua on his continuing
Gart, Mr., his Cabinet at Amsterdam, ii. 202.
Genius, Sir Joshua's idea of, i. 35, 36. 39, 40.
not to be relied on, to the exclusion of diligence, i. 326.
what is generally considered to be, i. 385.
what it is, exemplified by the progress of Art, i. 386. 408.
assisted by knowledge, i. 390.
brass, i. 397.
judicious imitation, compared to Corinthian
a just notion of, how necessary, i. 404, 405.
of a Painter, what, and how to be considered, ii. 21.
Genoa.-Extracts from Sir Joshua's journal at that city compara-
Georgione, a rival of Titian, ii. 370.
Ghent, Pictures at, ii. 142-146.
Ghirlandaio, Domenico, Michael Angelo's master, ii. 367.
Giordano. See Luca Giordano.
Guilio. See Julio.
Gloucester, Dean of, his estimation of Raphael
Goldsmith.-Sir Joshua's constant attention to him, i. 196.