Lectures on Painting: Delivered at the Royal Academy, Volym 1–2H. Colburn and R. Bentley, 1830 - 140 sidor |
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Lectures on Painting: Delivered at the Royal Academy, Volym 1–2 Henry Fuseli Obegränsad förhandsgranskning - 1830 |
Lectures on Painting: Delivered at the Royal Academy, Volym 1–2 Henry Fuseli Obegränsad förhandsgranskning - 1830 |
Lectures on Painting: Delivered at the Royal Academy (Classic Reprint) Henry Fuseli Ingen förhandsgranskning - 2015 |
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Academy Agnolo and Raffaello Agostino Agostino Carracci Albert Durer ancient Andrea del Sarto Annibale Annibale Carracci Antique Apollo appears artist attempt beauty body breadth Capella Sistina Carracci character characteristic charms chiaroscuro Christ ciple colour composition Correggio Dæmons demi-tints dignity drapery elegance elements equal established execution expression face fancy female figures flesh forms Fresco genius Giorgione Glycon grace grandeur hand harmony head HENRY FUSELI Hercules human frame idea ideal imitation inferior LECTURE less light and shade limbs Lionardo da Vinci Lodovico Lodovico Carracci Madonna manner Mannerists mass master mediocrity medium ments muscles Nature never object ornament painter painting Paolo Veronese Pellegrino Tibaldi perhaps Phidias picture Pietro Perugino principle produce proportion propriety purity Reynolds Roman Rubens sculpture simplicity style of design sublimity subordinate taste tinged Tintoretto tints tion Tiziano tone variety Venetian Venetian School vulgar whilst whole
Populära avsnitt
Sida 8 - ... great prerogative consisted more in the unison than in the extent of his powers : he knew better what he could do, what ought to be done, at what point he could arrive, and what lay beyond his reach, than any other artist. Grace of conception and refinement of taste were his elements, and went hand in hand with grace of execution and taste in finish, powerful and seldom possessed singly, irresistible when united...
Sida 50 - Venice, but is perhaps better learned from Rubens : here the brightest colours possible are admitted, with the two extremes of warm and cold, and those reconciled by being dispersed over the picture, till the whole appears like a bunch of flowers.
Sida 93 - I will not say equalled, but approached the subblimity of Leonardo's conception, and in quiet and simple features of humanity, embodied divine, or, what is the same, incomprehensible and infinite powers. To him who could contrive and give this combination, the unlimited praise lavished on the inferior characters who surround the hero, whilst his success in that was doubted, appears to me not only no praise, but a gross injustice.
Sida 97 - James's invigorated by the strength of virility, energetic and bold, none will refuse a competent praise of varied beauty; but they neither are nor ought to be ideal, and had they been so, they could neither compete nor interfere with the sublimity that crowns the Saviour's brow, and stamps his countenance with the God. The felicity, novelty, and propriety of...
Sida 56 - ... princely merchants, or a patrician race elevated to rank by accumulations from trade, or naval prowess ; the bulk of the people, mechanics or artisans, administering the means, and in their turn fed by the produce of luxury. Of such a system, what could the art be more than the parasite ? Religion itself had exchanged its gravity for the allurements of ear and eye, and even sanctity disgusted, unless arrayed by the gorgeous hand of fashion. — Such was, such will always be the birth-place and...
Sida 136 - We have now been in possession of an Academy more than half a century; all the intrinsic means of forming a style alternate at our commands; professional instruction has never ceased to direct the student ; premiums are distributed to rear talent and stimulate emulation, and stipends are granted to relieve the wants of genius and finish education. And what is the result...
Sida 102 - As painter, as sculptor, as architect, he attempted, and above any other man succeeded, to unite magnificence of plan, and endless variety of subordinate parts, with the utmost simplicity and breadth. His line is uniformly grand. Character and beauty were admitted only as far as they could be made subservient to grandeur. The child, the female, meanness, deformity, were by him indiscriminately stamped with grandeur. A beggar rose from his hand the patriarch of poverty ; the hump of his dwarf is impressed...
Sida 9 - ... imperceptible to vulgar eyes, which constitutes grace and establishes the superiority of one artist over another: that the knowledge of the degrees of things, or taste, presupposes a perfect knowledge of the things themselves : that colour, grace, and taste are ornaments not substitutes of form, expression and character, and when they usurp that title, degenerate into splendid faults. Such were...
Sida 135 - FUSELI. 2. If an Artist love his Art for its own sake, he will delight in excellence wherever he meets it, as well in the work of another as in his own. This is the test of a true love. 3. Nor is this genuine...
Sida 118 - Let me only ask whether such a mixture of demands ever entered with equal evidence the mind of any one artist, ancient or modern ; whether, if it be granted possible that they did, they were ever balanced with equal impartiality; and grant this, whether they ever were or could be executed with equal felicity ? A c'haracter of equal universal power is not a human character, and the nearest approach to perfection can only be in carrying to excellence one great quality with the least alloy of collateral...