Lectures on the History and Principles of PaintingLongman, Rees, Orme, Brown, Green & Longman, 1833 - 477 pages |
From inside the book
Results 1-5 of 75
Page ix
... indeed , to rest satisfied with repeating the thoughts of others , however just I might conceive them to be ; but that it would become me to see those important productions and judge of their qualities and their PREFACE . ix.
... indeed , to rest satisfied with repeating the thoughts of others , however just I might conceive them to be ; but that it would become me to see those important productions and judge of their qualities and their PREFACE . ix.
Page 11
... become informed of its capability and its governing principles ; and the third , to know whereon he may employ it most worthily . For the attainment of the former , I can here , as I have before said , render you little or no assistance ...
... become informed of its capability and its governing principles ; and the third , to know whereon he may employ it most worthily . For the attainment of the former , I can here , as I have before said , render you little or no assistance ...
Page 13
... purposes of language , its emblematic figures , when once formed and accepted , must of neces- sity have become stationary ; at least improve- ment must have been confined within very narrow limits . HISTORY OF PAINTING . 13.
... purposes of language , its emblematic figures , when once formed and accepted , must of neces- sity have become stationary ; at least improve- ment must have been confined within very narrow limits . HISTORY OF PAINTING . 13.
Page 36
... become inclined to think that it has been too slightly regarded , and too contemptuously treated , with opinions far indeed below its de- sert ; for in it were sown the seeds of all that is best in the application of the art , if not in ...
... become inclined to think that it has been too slightly regarded , and too contemptuously treated , with opinions far indeed below its de- sert ; for in it were sown the seeds of all that is best in the application of the art , if not in ...
Page 38
... becoming their characters ; giving them expressions and situations , at once appropriate to those characters , and to the scene in which they were engaged ; thus alluring the spectator till he becomes a participator in it , forgetful of ...
... becoming their characters ; giving them expressions and situations , at once appropriate to those characters , and to the scene in which they were engaged ; thus alluring the spectator till he becomes a participator in it , forgetful of ...
Other editions - View all
Common terms and phrases
action admiration adopted adorn agreeable application arrangement art of painting artist attention beauty breadth character Chiaro-oscuro church Cimabue colour combinations composition contrasts convey Coreggio cultivation degree delight direct display Domenichino draperies effect elevated employed endeavour engaged exalted excellence excite execution exhibited expression feeling Florentine Florentine school Fra Bartolomeo fulness genius Giorgione Giotto grace grandeur gratify Greeks Heliodorus honour hues imagination imitation imitative power imperfect important impress influence ingenious invention Italy knowledge labours Last Judgment LECTURE light and dark light and shade Masaccio masters means ment Michel Angelo mind mode nature object observer obtained ornamental painter peculiar perfect pleasure portion practice principles produce propriety purposes qualities racter Raffaelle refined Rembrandt rendered Rubens scenes selection sense sentiment Sir Joshua Reynolds style taste Tintoretto tion Titian tone truth ture union variety Vatican Venetian Venetian school whilst wrought
Popular passages
Page 198 - Last noon beheld them full of lusty life, Last eve in Beauty's circle proudly gay, The midnight brought the signal-sound of strife, The morn the marshalling in arms - the day Battle's magnificently stern array...
Page 195 - The other Shape — If shape it might be called that shape had none Distinguishable in member, joint, or limb...
Page 196 - The other shape, If shape it might be called that shape had none Distinguishable, in member, joint, or limb; Or substance might be called that shadow seemed, For each seemed either; black he stood as night; Fierce as ten furies; terrible as hell; And shook a deadly dart. What seemed his head The likeness of a kingly crown had on.
Page 312 - The poetry of Shakespear was inspiration indeed : he is not so much an imitator, as an instrument, of Nature ; and it is not so just to say that he speaks from her, as that she speaks through him.
Page i - If to do were as easy as to know what were^ good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine that follows his own instructions: I can easier teach twenty what were good to be done, than be one of the twenty to follow mine own teaching.
Page 251 - Yet nature is made better by no mean, But nature makes that mean: so, o'er that art, Which you say adds to nature, is an art That nature makes.
Page 447 - Thus if .a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent. which has annexed to it no ideas of meanness from its being familiar to us.
Page 197 - So spake the grisly terror, and in shape, So speaking and so threatening, grew tenfold More dreadful and deform. On...
Page 370 - The common error that his colours all fail, ought by this time to be entirely effaced. It is too true that this is the case with the colouring of many pictures painted by him during a short period of his life; he thought that he had discovered a mode of rendering colouring more vivid, and employed it without duly considering the chemical qualities of his materials. But he was soon made acquainted with the mistake he had committed, reassumed his durable system with increased beauty and vigour, and...
Page 343 - Consonance, or harmony of hue, consists in those colours being brought together, which, though they may not be placed exactly in the regular order seen in the rainbow or in the chromatic scale, yet act in accordance with each other upon the eye, and produce no uneasy sensations within it, but rather afford it pleasure.