Lectures on the History and Principles of Painting |
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Page 13
... periods ; and even in them we find reference to others now entirely removed from the recol- lections of man . It is probable that its origin may with more certainty be sought , in an attentive consideration of the nature and ...
... periods ; and even in them we find reference to others now entirely removed from the recol- lections of man . It is probable that its origin may with more certainty be sought , in an attentive consideration of the nature and ...
Page 16
... period of the invention of letters to which I have alluded , the Egyptian priesthood continued to employ painting hiero glyphically , to support the mysteries of their religious system ; and also , as it now appears , in the records of ...
... period of the invention of letters to which I have alluded , the Egyptian priesthood continued to employ painting hiero glyphically , to support the mysteries of their religious system ; and also , as it now appears , in the records of ...
Page 17
... period , how- ever , when compared with the progress of sculpture . It is with difficulty , and with doubt , that we can approach towards a satisfactory opinion upon the degree of perfection to which painting was car- ried in that birth ...
... period , how- ever , when compared with the progress of sculpture . It is with difficulty , and with doubt , that we can approach towards a satisfactory opinion upon the degree of perfection to which painting was car- ried in that birth ...
Page 19
... periods , controlled the studies of the Greek painters ; and engaged them in endeavours to rival its perfection in form and pathos . Accordingly you will find , in perusing the ad- mirable dissertation given on this subject by our late ...
... periods , controlled the studies of the Greek painters ; and engaged them in endeavours to rival its perfection in form and pathos . Accordingly you will find , in perusing the ad- mirable dissertation given on this subject by our late ...
Page 20
... grace , in taste , in cha- racter , and design , they rivalled the sculptors of the best period . Neither can we doubt , that they carried colouring of individual objects , and the management of light and shade , to a great 20 LECTURE I.
... grace , in taste , in cha- racter , and design , they rivalled the sculptors of the best period . Neither can we doubt , that they carried colouring of individual objects , and the management of light and shade , to a great 20 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.