Lectures on the History and Principles of PaintingLongman, Rees, Orme, Brown, Green & Longman, 1833 - 477 pages |
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Page xvi
... tion . But , excepting on the ceiling , the scene consists of scattered parts without a readily apparent union ; and that being felt by the com- mon observer who has no clue to guide him to the comprehension of the whole , he turns ...
... tion . But , excepting on the ceiling , the scene consists of scattered parts without a readily apparent union ; and that being felt by the com- mon observer who has no clue to guide him to the comprehension of the whole , he turns ...
Page xxvi
... tion to portraiture , to landscapes , or to subjects of common life . This kind of call for the public encourage- ment of painting has been so often ineffectively pressed upon the notice of the government and of the public , that it ...
... tion to portraiture , to landscapes , or to subjects of common life . This kind of call for the public encourage- ment of painting has been so often ineffectively pressed upon the notice of the government and of the public , that it ...
Page 3
... tion of its principal objects and its qualities ; and then , in succession , treating of the principles upon which the practice of it is most effectively conducted , as exemplified in those great works which have stood the test of time ...
... tion of its principal objects and its qualities ; and then , in succession , treating of the principles upon which the practice of it is most effectively conducted , as exemplified in those great works which have stood the test of time ...
Page 15
... tion took place , either through the exchange of commodities or in warfare , they may have mutually assisted each other . Emigration also of bodies of men from one country to another , as of the Greeks into Italy , would of necessity ...
... tion took place , either through the exchange of commodities or in warfare , they may have mutually assisted each other . Emigration also of bodies of men from one country to another , as of the Greeks into Italy , would of necessity ...
Page 16
... tion of man ) , or the style or mode of their com- bination ; a diversity , sufficiently powerful to point out the perfectly original feeling of the artists in either country , as distinct from each other . After the supposed period of ...
... tion of man ) , or the style or mode of their com- bination ; a diversity , sufficiently powerful to point out the perfectly original feeling of the artists in either country , as distinct from each other . After the supposed period of ...
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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.