 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...  Lectures on the History and Principles of Painting - Page 447by Thomas Phillips - 1833 - 477 pagesFull view - About this book
 | Shearer West - Performing Arts - 1991 - 214 pages
...accessible — a goal to which every artist, even portrait painters, should aspire: If a portrait-painter is desirous to raise and improve his subject, he has...changes the dress from a temporary fashion to one more H permanent. In Kemble's case, the 'form' aimed for is a certain acting style that expresses the fundamental... | |
 | John Barrell - Art - 1995 - 384 pages
...in which the sitter is to be represented as 'a particular man', for though, 'if a portrait-painter is desirous to raise and improve his subject, he has...other means than by approaching it to a general idea', and by omitting 'all the minute breaks and particularities in the face' , it is 'very difficult to... | |
 | Joanna Woodall - Art - 1997 - 308 pages
...only elevate sitters by omitting some of the peculiarities of their appearance. '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.'9 For Reynolds, then, the problem of portraiture lies in the difference between individual appearance... | |
 | Alan McNairn - Art - 1997 - 332 pages
...is said to have predicted. He told the students that "the great style", that is the classical style, "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." Reynolds proceeded to be more explicit in his demand... | |
 | Amal Asfour, Dr Paul Williamson, Paul Williamson - Art - 1999 - 360 pages
...aesthetic theory that informed such pictures as his portrait of Mrs Siddons: 'if a portrait-painter is desirous to raise and improve his subject, he has...to one more permanent, which has annexed to it no ideas of meanness from its being familiar to us.' 3 Reynolds was also aware of the tension inherent... | |
 | Christopher Christie - Architecture - 2000 - 374 pages
...and Nattier as well.56 Sir Joshua Reynolds observed in his Fourth Discourse, 'If a portrait painter is desirous to raise and improve his subject, he has...means than by approaching it to a general idea.'*' This generalisation appeared especially in Reynolds' portraits of women. Wishing to exclude the fashionable... | |
 | Dror Wahrman, Ruth N Halls Professor of History Dror Wahrman - Philosophy - 2004 - 432 pages
...this he then derived a clear theory of portraiture. "If a portrait-painter", went his address of 1771, "is desirous to raise and improve his subject, he...all the minute breaks and peculiarities in the face ... if an exact resemblance of an individual be considered as the sole object to be aimed at, the portrait-painter... | |
 | Charles A. Cramer - Art - 2006 - 196 pages
...these lines. Considering Reynolds's advice that when the portraitist wishes to improve his sitter, he "has no other means than by approaching it to a general idea,"22 Hazlitt objects: Portraits of this kind . . . have been elevated by ignorance and affectation,... | |
 | 1839 - 348 pages
...few instances, that the lower may be improved by borrowing from the grand. Thus if a portrait-painter is desirous to raise and improve his subject, he has...means than by approaching it to a general idea. He loaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary... | |
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