Lectures on the History and Principles of PaintingLongman, Rees, Orme, Brown, Green & Longman, 1833 - 477 pages |
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Page viii
... style of composition . To this end I have directed my labours , and I flatter myself that I have added something of value to the in- formation they have afforded ; if not in exalted sentiment or in brilliant criticism , at least in ar ...
... style of composition . To this end I have directed my labours , and I flatter myself that I have added something of value to the in- formation they have afforded ; if not in exalted sentiment or in brilliant criticism , at least in ar ...
Page xiii
... style in which they are wrought had been so repeatedly and so fully impressed upon my mind , that I was not sufficiently pre- pared to find a still greater power exhibited in them , creating and predominating over it . But when works of ...
... style in which they are wrought had been so repeatedly and so fully impressed upon my mind , that I was not sufficiently pre- pared to find a still greater power exhibited in them , creating and predominating over it . But when works of ...
Page 9
... style of painting , for by that title it is now known , confined in its principle to those subjects of religious interest whence it ori- ginated , were its beneficial influence confined to that peculiar class of subjects , whilst the ...
... style of painting , for by that title it is now known , confined in its principle to those subjects of religious interest whence it ori- ginated , were its beneficial influence confined to that peculiar class of subjects , whilst the ...
Page 16
... style of art , they have one common origin . But it appears to me , that common origin must be sought only in the perceptions and feelings of man wherever he may be found . For though there be an apparent resemblance between the earlier ...
... style of art , they have one common origin . But it appears to me , that common origin must be sought only in the perceptions and feelings of man wherever he may be found . For though there be an apparent resemblance between the earlier ...
Page 34
... it is very nearly completely done . There , his style is of an enlarged character , the figures solid , and round , and have the air of being studied and drawn from nature ; proportion is well preserved , and 34 . LECTURE I.
... it is very nearly completely done . There , his style is of an enlarged character , the figures solid , and round , and have the air of being studied and drawn from nature ; proportion is well preserved , and 34 . LECTURE I.
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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.