The Quarterly Review, Volume 120John Murray, 1866 |
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Page 116
... colour , which he expressly ex- cluded , except in the case of our preference for a white skin over a black . He renounced the pretension to resolve every species of beauty into a single property , and all such ambitious attempts have ...
... colour , which he expressly ex- cluded , except in the case of our preference for a white skin over a black . He renounced the pretension to resolve every species of beauty into a single property , and all such ambitious attempts have ...
Page 117
... colour and design , and a freedom and delicacy of pencil , which were rarely displayed in the works of those who devoted themselves exclusively to the higher branches of the profession . ' When it was the custom to cover coach - panels ...
... colour and design , and a freedom and delicacy of pencil , which were rarely displayed in the works of those who devoted themselves exclusively to the higher branches of the profession . ' When it was the custom to cover coach - panels ...
Page 129
... Rembrandt that he laid his colours on coarsely , he answered that he was a painter and not a dyer . ' Vol . 120.-No. 239 . ་ K not not enter upon a systematic course of instruction ; but Life of Sir Joshua Reynolds . 129.
... Rembrandt that he laid his colours on coarsely , he answered that he was a painter and not a dyer . ' Vol . 120.-No. 239 . ་ K not not enter upon a systematic course of instruction ; but Life of Sir Joshua Reynolds . 129.
Page 131
... colours from his pupils . He considered his knowledge as a part of his fortune , and concealed it as a spell which to reveal would undo him . What was the use of all this secresy ? Those who stole the mystery of his colours could not ...
... colours from his pupils . He considered his knowledge as a part of his fortune , and concealed it as a spell which to reveal would undo him . What was the use of all this secresy ? Those who stole the mystery of his colours could not ...
Page 141
... coloured . " The affections of the wretched woman had survived her virtue , and the painter preserved her most creditable trait - the anguish which sisterly love had imprinted on her countenance during the pro- longed and bitter ...
... coloured . " The affections of the wretched woman had survived her virtue , and the painter preserved her most creditable trait - the anguish which sisterly love had imprinted on her countenance during the pro- longed and bitter ...
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