The Knowledge and Restoration of Old Paintings: The Modes of Judging Between Copies and Originals : and a Brief Life of the Principal Masters in the Different Schools of Painting |
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ACKERMANN'S admirable afterwards aged eighty-three aged fifty-six aged sixty amateur AMBROGIO LORENZETTI Andrea Sacchi Annibal Antwerp architect artist Bassano beauty Bellini born at Amsterdam born at Antwerp born at Florence born at Haerlem Cakes called Caracci chiefly Cimabue copal copies Correggio delicacy died Ditto Ditto Ditto draperies drawing elegant eminent esteemed excellent father figures finished Flemish Giorgione Giottino Giotto Giovanni grace Guercino Guido history and portraits History of Painting imitated Italian Italy jects Lanzi lived Lorenzetti manner Masaccio master Michel Angelo Mieris mode names nature old paintings painted history painted landscape painter painting in oil Paolo Paul Veronese pencil perspective Petrarch pieces PIETRO PIETRO CAVALLINI pupil of Giotto Raffaelle Rome Rubens scapes second age Shell lac studied under Giotto style of colouring subjects surpassed taste Teniers Tintoret tints Titian transparency ture Vander varnish Vasari Venice Veronese WATER COLOURS ZUCCHERO
Popular passages
Page 137 - This is, perhaps, the first picture of portraits in the world, comprehending more of those qualities which make a perfect portrait than any other I have ever seen...
Page 12 - Hope not that praise to gain by sickly white. All the modes of harmony, or of producing that effect of colours which is required in a picture, may be reduced to three; two of which belong to the grand style, and the other to the ornamental. The first may be called the Roman manner, where the colours are of a full and strong body, such as are found in the Transfiguration : the next is that harmony which is produced by what the ancients called the corruption of the colours, by mixing and breaking them...
Page 14 - ... estimation with mankind in general, and that is the Venetian, or rather the manner of Titian; which, simply considered as producing an effect of colours, will certainly eclipse with its splendour whatever is brought into competition with it. But, as I hinted before, if female delicacy and beauty be the principal object of the painter's aim, the purity and clearness of the tint of Guido will correspond better, and more contribute to produce it than even the glowing tint of Titian.
Page 12 - ... particularly Jan Steen; where art is completely concealed, and the Painter, like a great Orator, never draws the attention from the subject on himself. The last manner belongs properly to the ornamental style, which we call the Venetian, being first practised at 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...
Page 59 - Chlorine (oxy-muriatic acid) may be formed by mixing intimately eight parts of common salt and three of the black oxide of manganese in powder : put this mixture into a retort ; then pour four parts of sulphuric acid, diluted with an equal weight of water and afterwards allowed to cool, upon the salt and manganese ; the gas will then be immediately liberated, and the operation may be quickened by a moderate heat. A tube leading from the mouth of the retort must be passed into the resinous solution,...
Page 58 - ... and heat the whole to ebullition. When the lac is dissolved, cool the solution, and impregnate it with chlorine gas till the lac is all precipitated.
Page 12 - Carracci seems to have endeavoured to produce, though he did not carry it to that perfection which we have seen since his time in the small works of the Dutch school, particularly Jan Steen; where art is completely concealed, and the painter, like a great orator, never draws the attention from the subject on himself. The last manner belongs properly to the ornamental style, which we call the Venetian, being first practised at Venice, but...
Page 5 - Nature must be the obvious foundation of the' piece ; but nature must be raised and improved, not only from what is commonly seen to what is rarely met with, but even yet higher, from a judicious and beautiful idea in the painter's mind.
Page 157 - He surpassed by many degrees all the landscape painters of his time in neatness of touch and delicacy of finishing. His taste was Flemish ; but he worked up his pictures in an exquisite manner, and enriched them with small figures, which had wonderful truth and exactness.
Page 172 - Subscribers are not to take, at one time, Drawings or Prints to a greater amount than their subscriptions ; but they may exchange them as often as agreeable. It will be needless to recommend care to be taken of the Drawings and Prints in their possession, as they can only be received back in a reasonably good state.