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, Tom 3T. Cadell, Jr. and W. Davies, 1801 |
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Strona 31
... mind ; Untaught to relish , yet too proud to learn , He scorns the grace his dulness can't discern . Hence reason to caprice resigns the stage , And hence that maxim of the ancient Sage , " Of all vain fools with coxcomb talents curst ...
... mind ; Untaught to relish , yet too proud to learn , He scorns the grace his dulness can't discern . Hence reason to caprice resigns the stage , And hence that maxim of the ancient Sage , " Of all vain fools with coxcomb talents curst ...
Strona 53
... mind display ! Can colours catch them , or can lines portray ? ( Rarum homini munus , Coelo , non arte petendum . ) Naturæ sit ubique tenor , ratioque sequenda .. n Non vicina pedum tabulata excelsa Tonantis Astra domus depicta gerent ...
... mind display ! Can colours catch them , or can lines portray ? ( Rarum homini munus , Coelo , non arte petendum . ) Naturæ sit ubique tenor , ratioque sequenda .. n Non vicina pedum tabulata excelsa Tonantis Astra domus depicta gerent ...
Strona 78
... mind ; Be there each line in truth ideal drawn , Or ere a colour on the canvas dawn ; Æthereus quippe ignis inest et spiritus illis ; Mente diu versata , manu celeranda repenti . Arsque laborque operis grata sic fraude latebit : Maxima ...
... mind ; Be there each line in truth ideal drawn , Or ere a colour on the canvas dawn ; Æthereus quippe ignis inest et spiritus illis ; Mente diu versata , manu celeranda repenti . Arsque laborque operis grata sic fraude latebit : Maxima ...
Strona 79
... to be in the Eyes . n LXIII . Pride an enemy to good Painting . 450 . LXII . Circinus in Ocu- lis . P. LXIII . Superbia Pictori nocet plurimum . But these subdued , let thy determin'd mind Veer not THE ART OF PAINTING . 79.
... to be in the Eyes . n LXIII . Pride an enemy to good Painting . 450 . LXII . Circinus in Ocu- lis . P. LXIII . Superbia Pictori nocet plurimum . But these subdued , let thy determin'd mind Veer not THE ART OF PAINTING . 79.
Strona 80
... mind Veer not with every critick's veering wind , Or e'er submit thy genius to the rules Of prating fops , or self - important fools ; 630 Enough if from the Learn'd applause be won : Who doat on random praises , merit none . By ...
... mind Veer not with every critick's veering wind , Or e'er submit thy genius to the rules Of prating fops , or self - important fools ; 630 Enough if from the Learn'd applause be won : Who doat on random praises , merit none . By ...
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Popularne fragmenty
Strona 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.
Strona 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.
Strona 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.
Strona 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.
Strona 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.
Strona 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.
Strona 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.
Strona 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.
Strona 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...
Strona 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.