The British Prose Writers...: Sir J. Reynolds's discoursesJ. Sharpe, 1819 |
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97 ÆäÀÌÁö
... criticism is likely to go hand in hand with the art which is its subject , we may venture to say , that as that art shall advance , its powers will be still more and more fixed by rules . But by whatever strides criticism may gain ...
... criticism is likely to go hand in hand with the art which is its subject , we may venture to say , that as that art shall advance , its powers will be still more and more fixed by rules . But by whatever strides criticism may gain ...
97 ÆäÀÌÁö
... criticism , is at the same time the soundest ; for it refers to the eternal and immutable nature of things . * You are not to imagine that I mean to open to you at large , or to recommend to your research , the whole of this vast field ...
... criticism , is at the same time the soundest ; for it refers to the eternal and immutable nature of things . * You are not to imagine that I mean to open to you at large , or to recommend to your research , the whole of this vast field ...
158 ÆäÀÌÁö
... critics who imagine our art to be a matter of inspiration . But I should be sorry it should appear even to my- self that I ... criticism and vulgar opi- nion . That the art has been in a gradual state of de- cline from the age of Michael ...
... critics who imagine our art to be a matter of inspiration . But I should be sorry it should appear even to my- self that I ... criticism and vulgar opi- nion . That the art has been in a gradual state of de- cline from the age of Michael ...
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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