The British Prose Writers...: Sir J. Reynolds's discoursesJ. Sharpe, 1819 |
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14 페이지
... hands , feet , and pieces of drapery : they then painted the pic- ture , and , after all , retouched it from the life ... hand , should be taught to contend who shall have the purest and most correct outline ; instead of striving which ...
... hands , feet , and pieces of drapery : they then painted the pic- ture , and , after all , retouched it from the life ... hand , should be taught to contend who shall have the purest and most correct outline ; instead of striving which ...
97 페이지
... 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 ground , we need be under no ...
... 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 ground , we need be under no ...
57 페이지
... hand of a master . We may even go further , and observe , that when the general effect only is presented to us by a skilful hand , it appears to express the object represented in a more lively manner than the minutest resem- blance ...
... hand of a master . We may even go further , and observe , that when the general effect only is presented to us by a skilful hand , it appears to express the object represented in a more lively manner than the minutest resem- blance ...
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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