The Literary Works of Sir Joshua Reynolds: ... to which is Prefixed, a Memoir of the Author; with Remarks on His Professional Character, Illustrative of His Principles and Practice, 第 2 卷
H. G. Bohn, 1852
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acquired action admirable altar ancient animals appears artist attention beauty better body Bologna called certainly character Christ church colouring composition considered copy correctness criticism drapery drawing drawn effect equal excellence expression figures finished Florence genius give given grace ground habit hand head History idea imagination imitation invention Italy John judgment kind learned light likewise look manner master means Michel Angelo mind nature necessary never NOTE object observed original painted Painter Parma particular perfect perhaps persons picture piece Poet Poetry portrait possessed practice present principal produced proper Raffaelle reason remarked represented rest Rome Rubens rules Sculpture seems seen sense shade shadow style suppose taste thing thought Titian true truth Vandyck Venice VERSE Virgin whole young
第 131 頁 - The Italian, attends only to the invariable, the great and general ; ideas which are fixed and inherent in universal nature; the Dutch, on the contrary, to literal truth and a minute exactness in the detail, as I may say, of nature modified by accident. The attention to these petty peculiarities is the very cause of this naturalness so much admired in the Dutch pictures, which, if we suppose it to be a beauty, is certainly...
第 410 頁 - Preserved; but I must bear this testimony to his memory, that the passions are truly touched in it, though, perhaps there is somewhat to be desired both in the grounds of them, and in the height and elegance of expression ; but nature is there, which is the greatest beauty.
第 126 頁 - Rembrandt understood light and shadow; but what may be an excellence in a lower class of painting, becomes a blemish in a higher...
第 132 頁 - As we are then more accustomed to beauty than deformity, we may conclude that to be the reason why we approve and admire it, as we approve and admire customs and fashions of dress for no other reason than that we are used to them...
第 423 頁 - Oh lasting as those colours may they shine, Free as thy stroke, yet faultless as thy line ; New graces yearly like thy works display, Soft without weakness, without glaring gay ; Led by some rule, that guides, but not constrains ; And finish'd more through happiness than pains The kindred arts shall in their praise conspire, One dip the pencil, and one string the lyre.
第 422 頁 - Fir'd with ideas of fair Italy. With thee, on Raphael's Monument I mourn, Or wait inspiring dreams at Maro's Urn: With thee repose, where Tully once was laid, Or seek some ruin's formidable shade; 30 While fancy brings the vanish'd piles to view, And builds imaginary Rome a-new.
第 403 頁 - Under this head of invention is placed the disposition of the work; to put all things in a beautiful order and harmony, that the whole may be of a piece.
第 392 頁 - Thus far the parallel of the arts holds true; with this difference, that the principal end of painting is to please, and the chief design of poetry is to instruct. In this the latter seems to have the advantage of the former ; but if we consider the artists themselves on both sides, certainly their aims are the very same ; they would both make sure of pleasing, and that in preference to instruction. — Next, the means of this pleasure is by deceit; one imposes on the sight, and the other on the...
第 33 頁 - I have so often mentioned. It is by this, and this alone, that the mechanical power is ennobled, and raised much above its natural rank. And it appears to me, that with propriety it acquires this character, as an instance of that superiority with which mind predominates over matter, by contracting into one whole what nature has made multifarious.