The Works of Sir Joshua Reynolds, Knight ...: Containing His Discourses, Idlers, A Journey to Flanders and Holland, and His Commentary on Du Fresnoy's Art of Painting, Volume 3T. Cadell, Jr. and W. Davies, 1801 |
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Page 58
... bodies near the light distinctly shine With rays direct , and as it fades decline . 365 Thus to the eye oppos'd with stronger light They meet its orb , for distance dims the sight . Learn hence to paint the parts that meet the view In ...
... bodies near the light distinctly shine With rays direct , and as it fades decline . 365 Thus to the eye oppos'd with stronger light They meet its orb , for distance dims the sight . Learn hence to paint the parts that meet the view In ...
Page 61
... bodies with translucent ones . 410 295 ' XXXII . Corpora densa et opaca translucentibus . Rough let it swell and boldly meet the sight , 6 THE ART OF PAINTING . 61 Dense and Opake Bodies with translucent ones •
... bodies with translucent ones . 410 295 ' XXXII . Corpora densa et opaca translucentibus . Rough let it swell and boldly meet the sight , 6 THE ART OF PAINTING . 61 Dense and Opake Bodies with translucent ones •
Page 68
... Bodies which are distanced . " XL . Of contiguous and separated Bodies . • XLI . Colours very op- posite to each other never to be joined . 3.60 XXXIX . Corpora pro- cul distantia . XL . Contigua et Dis- sita . XLI . Contraria extrema ...
... Bodies which are distanced . " XL . Of contiguous and separated Bodies . • XLI . Colours very op- posite to each other never to be joined . 3.60 XXXIX . Corpora pro- cul distantia . XL . Contigua et Dis- sita . XLI . Contraria extrema ...
Page 69
... 37 ° 3 XLII . Diversity of Tints and Colours . ' XLIII . The Choice of Light . " XLII . Tonus et Color varii . * XLIII . Luminis de . lectus . y Bodies of polish'd or transparent tone , Of metal THE ART OF PAINTING . 69.
... 37 ° 3 XLII . Diversity of Tints and Colours . ' XLIII . The Choice of Light . " XLII . Tonus et Color varii . * XLIII . Luminis de . lectus . y Bodies of polish'd or transparent tone , Of metal THE ART OF PAINTING . 69.
Page 70
... Bodies of polish'd or transparent tone , Of metal , crystal , iv'ry , wood , or stone ; And all whose rough unequal parts are rear'd , 505 The shaggy fleece , thick fur , or bristly beard ; The liquid too ; the sadly melting eye , The ...
... Bodies of polish'd or transparent tone , Of metal , crystal , iv'ry , wood , or stone ; And all whose rough unequal parts are rear'd , 505 The shaggy fleece , thick fur , or bristly beard ; The liquid too ; the sadly melting eye , The ...
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Common terms and phrases
admirable Æneas Albert Durer ancient Andrea Antwerp Apelles appear ART OF PAINTING Artist atque beauty bright called Caracci Caravaggio characters charms colorum colours composition Corpora correctness Correggio detto Domenichino drapery Epic Epic Poetry expression figures finishing forms Francesco Fresnoy genius Giacomo Giorgione Giottino Giov Girolamo give glow grace Guercino Guido hand Hannibal harmony hero hues idea imitated judgement Julio Romano Landsc light and shade Ludovico Carracci manner master Michael Angelo mind Nature noble NOTE ornamental Painted Country Painter Parma passions Paul Brill Paul Veronese pencil perfect Perin del Vaga picture Pietro Pietro Perugino pleasing Poem Poet Poetry Portraits practice precept principal Prospero Fontana quæ Quæque Rafaëlle Raffaelle Rome Rubens rules Sculpture shadow Sienna Studied under Excelled style taste things thro Tintoret tints tion Titian Tragedy translation true Udina umbra Venice Veronese VERSE Virgil whole Zeuxis
Popular passages
Page 253 - They present us with images more perfect than the life in any individual ; and we have the pleasure to see all the scattered beauties of nature united by a happy chemistry, without its deformities or faults.
Page 95 - There is an absolute necessity for the Painter to generalize his notions ; to paint particulars is not to paint nature, it is only to paint circumstances. When the Artist has conceived in his imagination the image of perfect beauty, or the abstract idea of forms, he may be Said to be admitted into the great Council of Nature, and to Trace Beauty's beam to its eternal spring, And pure to man the fire celestial bring.
Page 64 - Then only justly spread, when to the sight . A breadth of shade pursues a breadth of light. This charm to give, great Titian wisely made The cluster'd grapes his rule of light and shade.
Page 278 - Apelles said of Protogenes that he knew not when to give over. A work may be over-wrought as well as underwrought : too much labour often takes away the spirit by adding to the polishing, so that there remains nothing but a dull correctness, a piece without any considerable faults, but with few beauties; for when the spirits are drawn off, there is nothing but a caput mortuum.
Page 94 - The Poet, with great propriety, begins by declaring what is the chief business of theory, and pronounces it to be a knowledge of what is beautiful in nature : That form alone, where glows peculiar grace, The genuine painter condescends to trace.
Page 267 - 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 130 - When there is a model, there is something to proceed on, something to be corrected ; so that even supposing no part is adopted, the model has still been not without use. Such habits of intercourse with nature will at least create that variety which will prevent any one from prognosticating, on being informed of the subject, what manner of work the painter is likely to produce; which, is the most disagreeable character an Artist can have.
Page 256 - ... 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.
Page 257 - Figures to be lett," because the picture has no use of them: so I have seen in some modern plays above twenty actors, when the action has not required half the number. In the principal figures of a picture, the Painter is to employ the sinews of his art, for in them consists the principal beauty of his work. Our Author saves me the comparison with tragedy : for he says, that " herein he is to imitate the tragic Poet, who employs his utmost force in those places, wherein consists the height and beauty...
Page 98 - Yet some there are who indiscreetly stray, Where purblind Practice only points the way. Practice is justly called purblind; for practice, that is tolerable in its way, is not totally blind: an 'imperceptible theory, which grows out of, accompanies, and directs it, is never wholly wanting to a sedulous practice; but this goes but a little way with the Painter himself, and is utterly inexplicable to others.