The Literary Works of Sir Joshua Reynolds, Kt. Late President of the Royal Academy;: Containing His Discourses, Papers in the Idler, the Journal of a Tour Through Flanders and Holland, and Also His Commentary on Du Fresnoy's Art of Painting. : Printed from the Author's Revised Copies, with His Last Corrections and Additions. To which is Prefixed, Some Account of the Life of the Author, by Edmond Malone, Esq. One of His Executors..T. Cadell and W. Davies, in the Strand, Booksellers to the Royal Academy., 1819 - Art, English |
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Page 25
... the Painter attains with ease , but which are impracticable in Sculpture ; and which , even if it could ac- * See Il Reposo di Raffaelle Borghini . complish them , would add nothing to the true value THE TENTH DISCOURSE . 25.
... the Painter attains with ease , but which are impracticable in Sculpture ; and which , even if it could ac- * See Il Reposo di Raffaelle Borghini . complish them , would add nothing to the true value THE TENTH DISCOURSE . 25.
Page 48
... - prehension which sees the whole object at once , and that energy of art which gives its characteristick effect by adequate ex- pression . Raffaelle and Titian are two names which stand the highest 48 THE ELEVENTH DISCOURSE .
... - prehension which sees the whole object at once , and that energy of art which gives its characteristick effect by adequate ex- pression . Raffaelle and Titian are two names which stand the highest 48 THE ELEVENTH DISCOURSE .
Page 49
... Raffaelle and Titian are two names which stand the highest in our art ; one for Draw- ing , the other for Painting . The most con- siderable and the most esteemed works of Raffaelle are the Cartoons , and his Fresco works in the Vatican ...
... Raffaelle and Titian are two names which stand the highest in our art ; one for Draw- ing , the other for Painting . The most con- siderable and the most esteemed works of Raffaelle are the Cartoons , and his Fresco works in the Vatican ...
Page 52
... Raffaelle and Titian seem to have looked at nature for different purposes ; they both had the power of extending their view to the whole ; but one looked only for the ge- neral effect as produced by form , the other as produced by ...
... Raffaelle and Titian seem to have looked at nature for different purposes ; they both had the power of extending their view to the whole ; but one looked only for the ge- neral effect as produced by form , the other as produced by ...
Page 56
... Raffaelle in his oil pictures , in com- parison with that of Titian . The name which Raffaelle has so justly maintained as the first of Painters , we may venture to say was not acquired by this laborious attention . His apology may be ...
... Raffaelle in his oil pictures , in com- parison with that of Titian . The name which Raffaelle has so justly maintained as the first of Painters , we may venture to say was not acquired by this laborious attention . His apology may be ...
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Academy acquired admirable altar AMSTER angels ANTWERP appears artist attention attitude beauty Bolswert BRANDT BRUSSELS Carlo Maratti certainly character Christ church Claude Lorrain colour composition considered Correggio 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 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 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 Steen style taste Teniers 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 94 - Raphael lived but thirty-seven years ; and in that short space carried the art so far beyond what it had before reached, that he appears to stand alone as a model to his successors.
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 232 - Such faults may be said to be the ebullitions of genius ; but at least he had this merit, that he never was insipid ; and whatever passion his works may excite, they will always escape contempt. What I have had under consideration is the sublimest style, particularly that of Michael Angelo, the Homer of painting.
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 118 - Raffaelle himself, whom our enthusiasm honours with the name of Divine. The same sentiment is adopted by Pope in his epitaph on Sir Godfrey Kneller; and he turns the panegyric solely on imitation, as it is a sort of deception. I shall not think my time misemployed, if by any means I may contribute to confirm your opinion of what ought to be the object of your pursuit; because, though the best...
Page 231 - ... 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 of a lower order, which ought to give place to a beauty of a superior kind, since one cannot be obtained but by departing from the other.
Page 240 - The black and white nations must, in respect of beauty, be considered as of different kinds, at least a different species of the same kind ; from one of which to the other, as I observed, no inference can be drawn. Novelty is said to be one of the causes of beauty : that novelty is a very sufficient reason why we should admire, is not denied ; but, because it is uncommon, is it, therefore, beautiful? The beauty that is produced by...
Page 233 - Maratti, and from thence to the very bathos of insipidity to which they are now sunk; so that there is no need of remarking, that where I mentioned the Italian painters in opposition to the Dutch, I mean not the moderns, but the heads of the old Roman and Bolognian schools ; nor did I mean to include in my idea of an Italian painter, the Venetian school, which may be said to be the Dutch part of the Italian genius.
Page 294 - Rubens, conscious of his powers in painting horses, introduced them in his pictures as often as he could. This part of the work, where the horses are represented, is by far the best in regard to colouring ; it has a freshness which the other two pictures want: but those appear to have suffered by the sun.