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 6
... dignity of our nature . Perhaps there is no higher proof of the excellency of man than this , —that to a mind properly cultivated whatever is bounded is little . The mind is continually labouring to advance , step by step , through ...
... dignity of our nature . Perhaps there is no higher proof of the excellency of man than this , —that to a mind properly cultivated whatever is bounded is little . The mind is continually labouring to advance , step by step , through ...
Page 7
... dignity ; and in proportion as we lower it to mere sensuality , we pervert its nature , and degrade it from the rank of a liberal art ; and this is what every artist ought well to remember . Let him remember also , that he deserves just ...
... dignity ; and in proportion as we lower it to mere sensuality , we pervert its nature , and degrade it from the rank of a liberal art ; and this is what every artist ought well to remember . Let him remember also , that he deserves just ...
Page 26
... dignity of the work . Of the ineffectual attempts which the modern Sculptors have made by way of im- provement , these seem to be the principal ; The practice of detaching drapery from the figure , in order to give the appearance of ...
... dignity of the work . Of the ineffectual attempts which the modern Sculptors have made by way of im- provement , these seem to be the principal ; The practice of detaching drapery from the figure , in order to give the appearance of ...
Page 36
... , which may be sufficient to deter future artists from any such attempt : even supposing no other ob- jection , the familiarity of the modern dress by no means agrees with the dignity and gravity of 36 THE TENTH DISCOURSE .
... , which may be sufficient to deter future artists from any such attempt : even supposing no other ob- jection , the familiarity of the modern dress by no means agrees with the dignity and gravity of 36 THE TENTH DISCOURSE .
Page 37
sir Joshua Reynolds Edmond Malone. by no means agrees with the dignity and gravity of Sculpture . Sculpture is formal , regular , and austere ; disdains all familiar objects , as incompatible with its dignity ; and is an enemy to every ...
sir Joshua Reynolds Edmond Malone. by no means agrees with the dignity and gravity of Sculpture . Sculpture is formal , regular , and austere ; disdains all familiar objects , as incompatible with its dignity ; and is an enemy to every ...
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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.