The Literary Works of Sir Joshua Reynolds ...: Containing His Discourses, Papers in the Idler, the Journal of a Tour Through Flanders and Holland, and Also His Commentary on Du Fresnoy's Art of Painting, 3. köide
T. Cadell and W. Davies, 1819
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action admirable ancient Andrea Angelo Antwerp appear Artist atque beauty better body Bologna bright called character charms colours composition correct Country detto draw effect equal excellence expression face figures finishing force forms Francesco Fresnoy genius give given grace ground groups hand head hero History Bologna History Florence idea imitated Italy John judgement kind Landsc learned less light manner Master mean Michael mind Names nature never noble NOTE object observed original outlines Painter Painting Paris Parma particular passions perfect persons picture piece Pietro play pleasing Poem Poet Poetry Portraits practice principal produced proper qu¿ reason represented rest Rome Rubens rules shade shadow sight single Studied style suppose taste things thought tion Titian Tragedy translation true Venice VERSE Virgil whole young
Page 269 - 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 5 - Let friendship, as she caused, excuse the deed ; With thee, and such as thee, she must succeed. But what if fashion tempted Pope astray? The witch has spells, and Jervas knew a day, When mode-struck belles and beaux were proud to come, And buy of him a thousand years of bloom. Even then I deem it but a venal crime ; Perish alone that selfish sordid rhyme, Which flatters lawless sway, or tinsel pride ; Let black oblivion plunge it in her tide.
Page 254 - ... since a true knowledge of nature gives us pleasure, a lively imitation of it, either in poetry or painting, must of necessity produce a much greater: for both these arts . . . are not only true imitations of nature, but of the best nature, of that which is wrought up to a nobler pitch.
Page 288 - 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 286 - 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 72 - The portrait claims from imitative art Resemblance close in each minuter part, 540 And this to give, the ready hand and eye With playful skill the kindred features ply ; From part to part alternately convey The harmonizing gloom, the darting ray, With tones so just, in such gradation thrown, 545 Adopting Nature owns the work her own. 0 Say, is the piece thy hand prepares to trace Ordain'd for nearer sight, or narrow space ? Paint it of soft and amicable hue : But, if predestin'd to remoter view...
Page 27 - The tuneful page with speaking picture charm. What to the ear sublimer rapture brings, That strain alone the genuine Poet sings ; That form alone where glows peculiar grace, The genuine Painter condescends to trace : 10 No sordid theme will verse or paint admit, Unworthy colours, if unworthy wit.
Page 148 - I took a leaf of my pocket-book, and darkened every part of it in the same gradation of light and shade as the picture, leaving the white paper untouched to represent the light, and this without any attention to the subject ,or to the drawing of the figures.
Page 149 - ... on every side, it will appear as if inlaid on its ground. Such a blotted paper, held at a distance from the eye, will strike the spectator as something excellent for the disposition of light and shadow, though he does not distinguish whether it is a history, a portrait, a landscape, dead game, or any thing else ; for the same principles extend to every branch of the art. Whether I have given an exact account, or made a just division of the quantity of light admitted into the works of those painters,...