The literary works [&c.]. In which is included a memoir by J. Farington, Volume 1 |
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... advantages to society from culti- vating intellectual pleasure . DISCOURSE X. • Page 1 Sculpture : Has but one style . Its objects , form , and character . Ineffectual attempts of the mo- dern Sculptors to improve the art . Ill effects ...
... advantages to society from culti- vating intellectual pleasure . DISCOURSE X. • Page 1 Sculpture : Has but one style . Its objects , form , and character . Ineffectual attempts of the mo- dern Sculptors to improve the art . Ill effects ...
Page 3
... ADVANTAGES TO SOCIETY FROM SET - PLACE . - CULTIVATING INTELLECTUAL PLEASURE . GENTLEMEN , THE honour which the Arts acquire by being permitted to take possession of this noble habitation , is one of the most con- siderable of the many ...
... ADVANTAGES TO SOCIETY FROM SET - PLACE . - CULTIVATING INTELLECTUAL PLEASURE . GENTLEMEN , THE honour which the Arts acquire by being permitted to take possession of this noble habitation , is one of the most con- siderable of the many ...
Page 34
... advantage from their Painters , for this was an art with which they appear to have been entirely unacquainted ; and in the bas - relievos of Lorenzo Ghi- berti , the casts of which we have in the Academy , this art is no more attempted ...
... advantage from their Painters , for this was an art with which they appear to have been entirely unacquainted ; and in the bas - relievos of Lorenzo Ghi- berti , the casts of which we have in the Academy , this art is no more attempted ...
Page 35
... advantage , will certainly not desire a modern dress . The desire of transmitting to posterity the shape of modern dress must be acknow- ledged to be purchased at a prodigious price , even the price of every thing that is D 2 THE TENTH ...
... advantage , will certainly not desire a modern dress . The desire of transmitting to posterity the shape of modern dress must be acknow- ledged to be purchased at a prodigious price , even the price of every thing that is D 2 THE TENTH ...
Page 43
... advantage of this method of consi- dering objects , is what I wish now more particularly to enforce . At the same time I do not forget , that a Painter must have the power of contracting as well as dilating his sight ; because , he that ...
... advantage of this method of consi- dering objects , is what I wish now more particularly to enforce . At the same time I do not forget , that a Painter must have the power of contracting as well as dilating his sight ; because , he that ...
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Common terms and phrases
Academy acquired admirable altar AMSTER angels ANTWERP appears artist attention attitude beauty Bolswert BRANDT BRUSSELS Carlo Maratti certainly character Christ church Claude Lorrain colour composition considered Correggio 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 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 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 Steen style taste Teniers thing tion Titian truth ture VANDER Vandyck Virgin Weeninx whole woman
Popular passages
Page 107 - Or ounce, or tiger, hog, or bearded goat, All other parts remaining as they were ; And they, so perfect is their misery, Not once perceive their foul disfigurement, But boast themselves more comely than before ; And all their friends and native home forget, To roll with pleasure in a sensual sty.
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 171 - That Gainsborough himself considered this peculiarity in his manner, and the power it possesses of exciting surprise, as a beauty in his works, I think may be inferred from the eager desire which we know he always expressed, that his pic-- tures, at the Exhibition, should be seen near, as well as at a distance.
Page 141 - This is a tribute which a painter owes to an architect who composed like a painter, and was defrauded of the due reward of his merit by the wits of his time, who did not understand the principles of composition in poetry better than he, and who knew little or nothing of what he understood perfectly — the general ruling principles of architecture and painting.
Page 120 - 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 231 - ... 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 of a lower order, which ought to give place to a beauty of a superior kind, since one cannot be obtained but by departing from the other.
Page 424 - Correggio, or any of the great colourists. The effect of his pictures may be not improperly compared to clusters of flowers; all his colours appear as clear and as beautiful : at the same time he has avoided that tawdry effect which one would expect such gay colours to produce: in this respect resembling Barocci more than any other painter.
Page 217 - I reflect, not without vanity, that these Discourses bear testimony of my admiration of that truly divine man ; and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of — MICHAEL ANGELO.* * Unfortunately for mankind, these were the last words pronounced by this great Painter from the Academical chair.
Page 233 - Maratti, and from thence to the very pathos of insipidity to which they are now sunk ; so that there is no need of remarking, that where I mentioned the Italian Painters in opposition to the Dutch, I mean not the moderns, but the heads of the old Roman and Bolognian Schools ; nor did I mean to include in my idea of an Italian Painter, the Venetian School, which may be said to be the Dutch part of the Italian Genius.
Page 317 - The genius of Rubens no where appears to more advantage than here : it is the most carefully finished picture of- all his works. The whole is conducted with the most consummate art ; the composition is bold and uncommon, with circumstances which no other painter had ever before thought of; such as the breaking of the limbs, and the expression of the Magdalen, to which we may add the disposition of the three crosses, which are placed prospectively in an uncommon picturesque manner...