The British Prose Writers...: Sir J. Reynolds's discoursesJ. Sharpe, 1819 |
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10 페이지
... advantage of studying in an academy ; but all Rome , and the works of Michael Angelo in particular , were to him an academy . On the sight of the Capella Sistina , he immediately from a dry , Gothic , and even insipid manner , which ...
... advantage of studying in an academy ; but all Rome , and the works of Michael Angelo in particular , were to him an academy . On the sight of the Capella Sistina , he immediately from a dry , Gothic , and even insipid manner , which ...
148 페이지
... advantage of having custom and prejudice on its side . In this case we leave what has every preju- dice in its favour , to take that which will have no advantage over what we have left , but novelty ; which soon destroys itself , and at ...
... advantage of having custom and prejudice on its side . In this case we leave what has every preju- dice in its favour , to take that which will have no advantage over what we have left , but novelty ; which soon destroys itself , and at ...
157 페이지
... advantage which in these latter ages has been denied him ; the advantage of having the greatest of artists for his master and instructor . The next lesson should be , to change the purpose of the figures without changing the attitude ...
... advantage which in these latter ages has been denied him ; the advantage of having the greatest of artists for his master and instructor . The next lesson should be , to change the purpose of the figures without changing the attitude ...
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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