The Complete Works of Sir Joshua Reynolds: First President of the Royal Academy : with an Original Memoir, and Anecdotes of the Author, 3. köideT. M'Lean, 1824 |
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Page 109
... correctness . NOTE XIX . VERSE 151 . But chief from her that flowing outline take , — * R. The French editor , who republished this poem in the year 1753 , ( eighty - five years later than the first edition of Du Piles , ) remarks here ...
... correctness . NOTE XIX . VERSE 151 . But chief from her that flowing outline take , — * R. The French editor , who republished this poem in the year 1753 , ( eighty - five years later than the first edition of Du Piles , ) remarks here ...
Page 123
... is undoubtedly true , and perfectly obvious , that every part of the art has a grace belonging to it , which , to satisfy and captivate the mind , must be superadded to correctness . This excellence , however expressed ART OF PAINTING .
... is undoubtedly true , and perfectly obvious , that every part of the art has a grace belonging to it , which , to satisfy and captivate the mind , must be superadded to correctness . This excellence , however expressed ART OF PAINTING .
Page 124
... correctness . This excellence , however expressed , whether we call it genius , taste , or the gift of heaven , I am confident may be acquired or the artist may certainly be put into that train by which it shall be acquired ; though he ...
... correctness . This excellence , however expressed , whether we call it genius , taste , or the gift of heaven , I am confident may be acquired or the artist may certainly be put into that train by which it shall be acquired ; though he ...
Page 136
... correctness of eye that will revolt at discordant colours , as a mu , sician's ear revolts at discordant sounds . R. NOTE XLII . VERSE 517 . By mellowing skill thy ground at distance cast , Free as the air , and transient as its blast ...
... correctness of eye that will revolt at discordant colours , as a mu , sician's ear revolts at discordant sounds . R. NOTE XLII . VERSE 517 . By mellowing skill thy ground at distance cast , Free as the air , and transient as its blast ...
Page 146
... correctness of the eye and ear is substituted , which operates without any conscious effort of the mind . R. NOTE XLIX . VERSE 619 . Give to the dictates of the learn'd respect . There are few spectators of a painter's work , learned or ...
... correctness of the eye and ear is substituted , which operates without any conscious effort of the mind . R. NOTE XLIX . VERSE 619 . Give to the dictates of the learn'd respect . There are few spectators of a painter's work , learned or ...
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action admirable ¯neas Albert Durer amongst ancient Annibale Annibale Caracci Apelles appear Aristotle ART OF PAINTING artis artist atque beauty betwixt bright called canvass Caracci charms colorum colours compass composition Corpora Corregio disciple divine drapery Dryden epic epic poetry excellence expression face finishing forms Fresnoy Fresnoy's genius Geryon Giulio Romano give glow grace h¿c hand harmony hero hues idea imitation Inque invention Jan Steen judgment labour light and shadow Lodovico Caracci Luminis majesty manner master Membra Michel Angelo mind Muse nature never noble NOTE o'er ornament painter Paolo Veronese passions perfect persons Phidias picture piece pleasing poem poet poetry portrait practice precept principal qu¿ Qu¿que racter Raffaelle Rubens rules sculpture shade sight single figure Sophocles spectator Statius style tabula taste things tints Titian tragedy translation true umbris Venice VERSE Virgil whole Zeuxis
Popular passages
Page 228 - 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.
Page 218 - Having thus shewn that imitation pleases, and why it pleases in both these arts, it follows, that some rules of imitation are necessary to obtain the end ; for without rules there can be no art, any more than there can be a house without a door to conduct you into it.
Page 153 - In heroic subjects it will not, I hope, appear too great a refinement of criticism to say, that the want of naturalness, or deception of the art, which give to an inferior style its whole value, is no material disadvantage : the Hours, for instance, as represented by Julio Romano, giving provender to the horses of the Sun, would not strike the imagination more forcibly from their being coloured with the pencil of Rubens, though he would have represented them more naturally: but might he not possibly,...
Page 244 - 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.
Page 4 - Then view this marble, and be vain no more ! Yet still her charms in breathing paint engage; Her modest cheek shall warm a future age. Beauty, frail flower ! that every season fears, Blooms in thy colours for a thousand years.
Page 218 - Without invention a painter is but a copier, and a poet but a plagiary of others. Both are allowed sometimes to copy and translate ; but, as our author tells you, that is not the best part of their reputation. " Imitators are but a servile kind of cattle...
Page 154 - ... the effect of the grand style; they would only contribute to the ease of the spectator, by making the vehicle pleasing by which ideas are conveyed to the mind, which otherwise might be perplexed and bewildered with a confused assemblage of objects ; they would add a certain degree of grace and sweetness to strength and grandeur. Though the merits of those two great Painters are of such transcendency, as to make us overlook their deficiency, yet a subdued attention to these inferior excellencies...
Page 30 - Est modus in rebus, sunt certi denique fines, Quos ultra citraque nequit consistere rectum.
Page 242 - 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. While fancy brings the vanish'd piles to view, And builds imaginary Rome anew...
Page 220 - ... which are foreign to his Poem, and are naturally no parts of it : they are wens, and other excrescences,' which belong not to the body, but deform it. No person, no incident in the piece or in the play, but must be of use to carry on the main design. All things else are like six fingers to the hand, when nature, which is superfluous in nothing, can do her work with five. " A Painter must reject all trifling ornaments:" — so must a Poet refuse all tedious and unnecessary descriptions.