The Art of Painting of Charles Alphonse Du FresnoyA. Ward, and sold by J. Dodsley, Pall-Mall, T. Cadell, in the Strand, R. Faulder, New Bond-street, London, and J. Todd, York, 1783 - 213 頁 |
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常見字詞
Albert Durer alfo Andrea antient Antwerp Artiſt atque beauty becauſe beft beſt Bologna Caracci Caravaggio charms colouring compofition confequently Correggio defign detto Domenichino Domenico Ghirlandaio drapery ev'ry excellence expreffed expreffion faid fame feems fhade fhadow fhall fhould figures fingle finiſhing firft firſt Florence fome fometimes forms Francefco Frefnoy ftile ftrong ftudied fubjects fuch fufficient fuppofe Genius grace greateſt himſelf Hiſtory Hiſtory Florence Hiſtory Hiſtory idea imitated inftructive itſelf Landſcapes leaſt lefs light and ſhadow Mafter manner meaſure moſt muft muſt myſelf Nature neceffary noble NOTE obferved paffage paffions Painter Painting Parma Paul Brill perfect perfons picture Pietro Pietro Perugino pleafing pleaſe pleaſure Poem Poet Poetry Portraits praiſe purpoſe quæ Rafaël reafon reft reprefented Rome Rubens rules ſchool ſhade ſhall ſketch ſkill ſome ſpeak ſtudy ſuch taſte theſe things thofe thoſe Titian tranflation uſe Venice VERSE Virgil Zeuxis Zucchero
熱門章節
第 188 頁 - Helen thy Bridgewater vie, And these be sung till Granville's Myra die : Alas ! how little from the grave we claim ! Thou but preserv'st a face, and I a name.
第 172 頁 - To make a sketch, or a more perfect model of a picture," is in the language of poets, to draw up the scenery of a play : and the reason is the same for both ; to guide the undertaking, and to preserve the remembrance of such things whose natures are difficult to retain.
第 187 頁 - Bid her be all that cheers or softens life, The tender sister, daughter, friend, and wife; Bid her be all that makes mankind adore, Then view this marble, and be vain no more!
第 185 頁 - And each from each contract new strength and light. How oft in pleasing tasks we wear the day, While summer suns roll unperceiv'd away ! How oft...
第 170 頁 - Tragedy, or in an Epic Poem, the hero of the piece must be advanced foremost to the view of the reader or spectator : he must outshine the rest of all the characters ; he must appear the prince of them, like the sun in the Copernican System, encompassed with the less noble planets. Because the hero is the centre of the main action, all the lines from the circumference tend to him alone ; he is the chief object of pity, in the drama, and of admiration in the Epic Poem.
第 164 頁 - But it follows not that what pleases most in either kind is therefore good, but what ought to please. Our depraved appetites, and ignorance of the arts...
第 162 頁 - French critics, by studying the precepts of Aristotle and Horace, and having the example of the Grecian poets before their eyes...
第 172 頁 - ... too large to be supplied by a company of actors. It is true, I should not be sorry to see a chorus on a theatre, more than as large and as deep again as ours, built and adorned at a king's charges : and on that condition and another, which is, that my hands were not bound behind me, as now they are, I should not despair of making such a Tragedy, as might be both instructive and delightful, according to the manner of the Grecians. " To make a sketch, or a more perfect model of a picture...
第 79 頁 - From the genitories to the upper part of the knee, two faces. The knee contains half a face. From the lower part of the knee to the ankle, two faces. From the ankle to the sole of the foot, half a face. A man, when his arms are stretched out, is, from the longest finger of his right hand, to the longest of his left, as broad as he is long.
第 89 頁 - ... in their minds. In Painting it is far better to have a model even to depart from, than to have nothing fixed and certain to determine the idea. When there is a model, there is something to proceed on, something to be corrected; so that even supposing no part is adopted, the model has still been not without use.