The works of sir Joshua Reynolds. To which is prefixed an account of the life and writings of the author, by E. Malone, Volume 2 |
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Page 7
... reason ; for such is the progress of thought , that we perceive by sense , we combine by fancy , and distinguish by reason : and with- out carrying our art out of its natural and true character , the more we purify it from every thing ...
... reason ; for such is the progress of thought , that we perceive by sense , we combine by fancy , and distinguish by reason : and with- out carrying our art out of its natural and true character , the more we purify it from every thing ...
Page 23
... reason why the countenance should not correspond with the attitude and expression of the figure , ) but is mentioned in order to infer from hence , that this frequent deficiency in ancient Sculp- i ture could proceed from nothing but a ...
... reason why the countenance should not correspond with the attitude and expression of the figure , ) but is mentioned in order to infer from hence , that this frequent deficiency in ancient Sculp- i ture could proceed from nothing but a ...
Page 28
... reason to have deterred him.from that practice . We have not , I think , in our Academy , any of Bernini's works , except a cast of the head of his Neptune * ; this will be suffi- cient to serve us for an example of the mischief ...
... reason to have deterred him.from that practice . We have not , I think , in our Academy , any of Bernini's works , except a cast of the head of his Neptune * ; this will be suffi- cient to serve us for an example of the mischief ...
Page 29
... reason , inevitably mingle and con- found with the principal parts of the figure . It is a general rule , equally true in both Arts , that the form and attitude of the figure should be seen clearly , and without any ambiguity , at the ...
... reason , inevitably mingle and con- found with the principal parts of the figure . It is a general rule , equally true in both Arts , that the form and attitude of the figure should be seen clearly , and without any ambiguity , at the ...
Page 62
... reason . Neither of those pictures have any interesting story to support them . That of Paolo Veronese , is only a representation of a great concourse of people it at a dinner ; and the subject of Rubens 62 THE ELEVENTH DISCOURSE .
... reason . Neither of those pictures have any interesting story to support them . That of Paolo Veronese , is only a representation of a great concourse of people it at a dinner ; and the subject of Rubens 62 THE ELEVENTH DISCOURSE .
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acquired admirable advantage altar AMSTER angels ANTWERP appears artist attention attitude beauty BRANDT BRUSSELS Carlo Maratti certainly character Christ church Claude Lorrain colouring composition considered Correggio countenance criticism defect dignity DISCOURSE Domenichino Domenico Feti DORP drapery drawing drawn dress DUSSEL Dutch effect engraved excellence expression figure finished Gainsborough gallery genius GHENT give grace grandeur habit hand head idea imagination imitation invention Jan Steen Jordaens judgement kind labour landscapes light and shadow likewise look Luca Giordano Magdalen manner Masaccio mass of light master means MECHLIN merit Michael Angelo mind nature never object observed ornament painted painter Paolo Veronese perfect perhaps picture of Rubens Pieta Poetry portrait possessed principles produced racter Raffaelle reason RECOLLETS Rembrandt represented Rubens's Saint Sculpture seen Sergius Paulus spectator style taste Teniers Terburg thing tion Titian truth ture VANDER Vandyck Virgin Weeninx whole woman
Popular passages
Page 235 - 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...
Page 230 - I was led into the subject of this letter by endeavouring to fix the original cause of this conduct of the Italian masters. If it can be proved that by this choice they selected the most beautiful part of the creation, it will...
Page 115 - This impression is the result of the accumulated experience of our whole life, and has been collected, we do not always know how, or when. But this mass of collective observation, however acquired, ought to prevail over that reason, which however powerfully exerted on any particular occasion, will probably comprehend but a partial view of the subject; and our conduct in life as well as in the Arts, is, or ought to be, generally governed by this habitual reason : it is our happiness that we are enabled...
Page 221 - I was much pleased with your ridicule of those shallow criticks, whose judgment, though often right as far as it goes, yet reaches only to inferior beauties, and who, unable to comprehend the whole, judge only by parts, and from thence determine the merit of extensive works.
Page 138 - Gothic architecture; which, though not so ancient as the Grecian, is more so to our imagination, with which the artist is more concerned than with absolute truth.
Page 114 - ... not always in his power, perhaps, to give a reason for it; because he cannot recollect and bring before him all the materials that gave birth to his opinion; for very many and very intricate considerations may unite to form the principle, even of small and minute parts, involved in, or dependent on, a great system of things: though these in process of time are forgotten, the right impression still remains fixed in his mind. This impression is the result of the accumulated experience of our whole...
Page 163 - ... after he had invented a new species of dramatic painting, in which probably he will never be equalled, and had stored his mind with infinite materials to explain and illustrate the domestic and familiar scenes of common life, which were generally, and ought to have been always, the subject of his pencil; he very imprudently, or rather presumptuously, attempted the great historical style, for which his previous habits had by no means prepared him : he was indeed so entirely unacquainted with the...
Page 119 - It is the lowest style only, of arts, whether of Painting, Poetry, or Musick, that may be said, in the vulgar sense, to be naturally pleasing. The higher efforts of those arts, we know by experience, do not affect minds wholly uncultivated. This refined taste is the consequence of education and habit...
Page 107 - On the contrary, he who recurs to nature, at every recurrence renews his strength. The rules of art he is never likely to forget ; they are few and simple ; but nature is refined, subtle, and infinitely various, beyond the power and retention of memory ; it is necessary, therefore, to have continual recourse to her. In this intercourse, there is no end of his improvement ; the longer he lives, the nearer he approaches to the true and perfect idea of art.
Page 239 - ... annexes to the dove ; but, if he pretends to defend the preference he gives to one or the other by endeavouring to prove that this more beautiful form proceeds from a particular gradation of magnitude, undulation of a curve, or direction of a line, or whatever other conceit of his imagination he shall fix on as a criterion of form, he will be continually contradicting himself, and find at last that the great Mother of Nature will not be subjected to such narrow rules.