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 6
... true , Which , blended here with his instructive strains , Shall bid thy art inherit new domains ; Give her in Albion as in Greece to rule , And guide ( what thou hast form'd ) a British School . And , O , if aught thy Poet can pretend ...
... true , Which , blended here with his instructive strains , Shall bid thy art inherit new domains ; Give her in Albion as in Greece to rule , And guide ( what thou hast form'd ) a British School . And , O , if aught thy Poet can pretend ...
Page 7
... true as to claim the autho- rity of absolute rules : Yet the reader of taste will always be pleased to see a Frenchman . holding out to his countrymen the study of nature , and the chaste models of antiquity , when ( if we except Le ...
... true as to claim the autho- rity of absolute rules : Yet the reader of taste will always be pleased to see a Frenchman . holding out to his countrymen the study of nature , and the chaste models of antiquity , when ( if we except Le ...
Page 25
... A Journey to Flanders and Holland, and His Commentary on Du Fresnoy's Art of Painting Sir Joshua Reynolds, Edmond Malone. THE ART OF PAINTING , WITH THE ORIGINAL TEXT SUBJOINED . THE ART OF PAINTING . TRUE Poetry the Painter's power.
... A Journey to Flanders and Holland, and His Commentary on Du Fresnoy's Art of Painting Sir Joshua Reynolds, Edmond Malone. THE ART OF PAINTING , WITH THE ORIGINAL TEXT SUBJOINED . THE ART OF PAINTING . TRUE Poetry the Painter's power.
Page 27
... TRUE Poetry the Painter's power displays ; True Painting emulates the Poet's lays ; The rival sisters , fond of equal fame , Alternate change their office and their name ; Bid silent Poetry the canvas warm , 5 The tuneful page with ...
... TRUE Poetry the Painter's power displays ; True Painting emulates the Poet's lays ; The rival sisters , fond of equal fame , Alternate change their office and their name ; Bid silent Poetry the canvas warm , 5 The tuneful page with ...
Page 39
... sine tubere subdita tactu , Ex longo deducta fluant , non secta minutim , Insertisque toris sint nota ligamina , juxta Compagem anatomes , et membrificatio Græco 105 110 True to anatomy , more true to grace , She THE ART OF PAINTING . 39.
... sine tubere subdita tactu , Ex longo deducta fluant , non secta minutim , Insertisque toris sint nota ligamina , juxta Compagem anatomes , et membrificatio Græco 105 110 True to anatomy , more true to grace , She THE ART OF PAINTING . 39.
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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.