The Works of Sir Joshua Reynolds, Том 3T. Cadell and W. Davies, in the strand, 1809 |
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Стр. 19
... imitating that excellent Painter in his colouring , as he did Caracci in his design . About the year 1653 , he went with Mignard to Venice * , and travelled throughout Lom- * This is the account of Mons . Felibien , Entretiens sur les ...
... imitating that excellent Painter in his colouring , as he did Caracci in his design . About the year 1653 , he went with Mignard to Venice * , and travelled throughout Lom- * This is the account of Mons . Felibien , Entretiens sur les ...
Стр. 41
... guris . 128 VIII . Varietas in Fi * IX . Figura sit una mem . bris et vestibus . 7 X. Mutorum actiones IX . Action of the Mutes imitandæ . to be imitated . $ Fair in the front , in all the blaze of THE ART OF PAINTING .
... guris . 128 VIII . Varietas in Fi * IX . Figura sit una mem . bris et vestibus . 7 X. Mutorum actiones IX . Action of the Mutes imitandæ . to be imitated . $ Fair in the front , in all the blaze of THE ART OF PAINTING .
Стр. 125
... imitating an imitation , and often a false or exaggerated imitation . NOTE XXIV . VERSE 180 . Fair in the front , in all the blaze of light , The Hero of thy piece should meet the sight . R. There can be no doubt that this figure should ...
... imitating an imitation , and often a false or exaggerated imitation . NOTE XXIV . VERSE 180 . Fair in the front , in all the blaze of light , The Hero of thy piece should meet the sight . R. There can be no doubt that this figure should ...
Стр. 151
... imitating be considered in this light , to ascertain the quantity of warm , and the quantity of cold colours . The predominant colours of the picture ought to be of a warm mellow kind , red or yellow ; and no more cold colour should be ...
... imitating be considered in this light , to ascertain the quantity of warm , and the quantity of cold colours . The predominant colours of the picture ought to be of a warm mellow kind , red or yellow ; and no more cold colour should be ...
Стр. 180
... imitating nature ; one of which refers for its truth to the sensations of the mind , and the other to the eye . Some schools , such as the Roman and Florentine , appear to have addressed them- selves principally to the mind ; others ...
... imitating nature ; one of which refers for its truth to the sensations of the mind , and the other to the eye . Some schools , such as the Roman and Florentine , appear to have addressed them- selves principally to the mind ; others ...
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admirable Æneas Albert Durer amongst ancient Andrea Antonio Antonio da Correggio Antwerp appear ART OF PAINTING Artist atque Bagnacavallo beauty Bellini called canvass Caracci Caravaggio characters charms colorum colouring correctness Correggio detto Domenichino Domenico drapery Dryden Epic expression figures finishing forms Francesco Francesco Francia Fresnoy Fresnoy's genius Geryon Giacomo Giotto Giov Giovanni Girolamo give grace Guercino Guido Hero History Bologna History Florence History Florence History History Rome History Venice idea imitated judgement Landsc light and shade manner Mariotto Albertinelli Master Michael Angelo mind Naples Nature noble NOTE Ornament Painted Country Painter Paris Parma passions Paul Veronese perfect picture piece Pietro Pietro Perugino pleasing Poem Poet Poetry Portraits precepts principal Prospero Fontana quæ Quæque Rafaëlle Raffaelle Rome Rubens rules shadow Sienna Studied under Excelled style taste things tints tion Titian Tragedy translation Udina Urbino Venice VERSE Virgil whole
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Стр. 34 - Nomentanus?" pergis pugnantia secum frontibus adversis componere. non ego avarum cum veto te fieri, vappam iubeo ac nebulonem. est inter Tanain quiddam socerumque Viselli : 105 est modus in rebus, sunt certi denique fines, quos ultra citraque nequit consistere rectum.
Стр. 247 - Otway possessed this part as thoroughly as any of the ancients or moderns. I will not defend every thing in his Venice 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. 241 - Painter should be conformable to the text of ancient authors, to the custom and the times ;" and this is exactly the same in Poetry : Homer and Virgil are to be our guides in the Epic ; Sophocles and Euripides in Tragedy ; in all things we are to imitate the customs and the times of those persons and things which we represent : not to make new rules of the Drama, as Lopez de Vega has attempted unsuccessfully to do, but to be content to follow our masters, who understood nature better than we.
Стр. 247 - Painter is not to paint a cloud at the bottom of a picture, but in the uppermost parts ;" nor the Poet to place what is proper to the end or middle in the beginning of a Poem. I might enlarge on this ; but there are few Poets or Painters who can be supposed to sin so grossly against the laws of nature and of art. I remember only one play, and for once I will call it by its name The Slighted...
Стр. 247 - To express the passions, which are seated on the heart by outward signs," is one great precept of the painters, and very difficult to perform. In Poetry the same passions and motions of the mind are to be expressed; and in this consists the principal difficulty, as well as the excellency of that art.
Стр. 27 - The tuneful page with speaking picture charm. What to the ear sublimer rapture brings, That strain alone the genuine Poet sings ; That form alone where glows peculiar grace, The genuine Painter condescends to trace : 1 0 No sordid theme will verse or paint admit, Unworthy colours, if unworthy wit.
Стр. 210 - To paint a fair one, it is necessary for me to see many fair ones ; but because there is so great a scarcity of lovely women, I am constrained to make use of one certain idea, which I have formed to myself in my own fancy.
Стр. 114 - Ancients have commonly allowed eight heads to their figures, though some of them have but seven ; but we ordinarily divide the figures into ten faces * ; that is to say, from the crown of the head to the sole of the foot, in the following manner : " From the crown of the head to the forehead is the third part of a face. " The face begins at the root of the lowest hairs which are upon the forehead, and ends at the bottom of the chin. " The face is divided into three proportionable parts ; the first...
Стр. 209 - ... beauty, and according to that image in his soul, he directed the operation of his hand. Seneca also seems to wonder that Phidias, having never beheld either Jove or Pallas, yet could conceive their divine images in his mind. Apollonius...
Стр. 240 - Without invention a Painter is but a copier, and a Poet but a plagiary of others. Both are allowed sometimes to copy and translate; but, as our author tells you, that is not the best part of their reputation. " Imitators are but a servile kind of cattle...