The British Prose Writers...: Sir J. Reynolds's discoursesJ. Sharpe, 1819 |
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81 페이지
... Raffaelle : it is to him Raffaelle owes the grandeur of his style . He was taught by him to elevate his thoughts , and to conceive his subjects with dignity . His genius , however , formed to blaze and to shine , might , like fire in ...
... Raffaelle : it is to him Raffaelle owes the grandeur of his style . He was taught by him to elevate his thoughts , and to conceive his subjects with dignity . His genius , however , formed to blaze and to shine , might , like fire in ...
82 페이지
... Raffaelle's imagina- tion is not so elevated ; his figures are not so much disjoined from our own diminutive race of beings , though his ideas are chaste , noble , and of great conformity to their subjects . Michael Angelo's works have ...
... Raffaelle's imagina- tion is not so elevated ; his figures are not so much disjoined from our own diminutive race of beings , though his ideas are chaste , noble , and of great conformity to their subjects . Michael Angelo's works have ...
88 페이지
... Raffaelle was in general a good observer ; but he found it so in Masaccio , and he did not bestow so much pains in disguise as to change it . It appears to me to be an excellent practice , thus to suppose the figures which you wish to ...
... Raffaelle was in general a good observer ; but he found it so in Masaccio , and he did not bestow so much pains in disguise as to change it . It appears to me to be an excellent practice , thus to suppose the figures which you wish to ...
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acquired admiration advantage Albert Durer ancient appear artist attention beauty called Carlo Maratti character Claude Lorrain colouring composition considered contrary Correggio criticism defects degree dignity discourse disposition distinguished drapery drawing dress effect elegance endeavour equal excellence expression figure finished Gainsborough genius give grace grandeur greatest Guercino habit higher highest history painter idea imagination imitation invention justly kind labour landscape learned lence manner Masaccio masters means method Michael Angelo mind minute modern nature necessary neral never object observed opinion ornaments painter painting passions Paul Veronese peculiar Pellegrino Tibaldi perfection perhaps Phidias picture Pietro Perugino poet poetry portraits possessed Poussin practice principles proceed produced racter Raffaelle reason recommend Rembrandt Royal Academy Rubens rules sculptor sense simplicity spectator student style suppose taste thing thought tion Titian true truth ture Vandyck variety Venetian Venetian school Veronese vulgar whole wish