absorbed action Agnolo ancients Angelo appears applied arms artist attitude beauty become body breadth called cartoon centre character characteristic chiaroscuro choice colour combination composition conception connected considered Correggio critic died dignity effect elements energy equal established excellence execution exhibit existence expression face fancy female figure genius give grace hand harmony head human idea imitation impress infant invention Italy less light light and shade Lysippus manner masses master materials means ment method Michael mind nature never object observations once organs origin painter painting passions perhaps period picture Pliny possession principle probably produced proportion prove Raffaello raised Raphael represented rest Rome round scene scenery seems selected sense shade simplicity sometimes style sublime subordinate suffered superior taste terror tints tion tone variety whilst whole
Pagina 158 - For to us a child is born, to us a son is given; and the government will be upon his shoulder, and his name will be called "Wonderful Counselor, Mighty God, Everlasting Father, Prince of Peace.
Pagina 302 - ... great prerogative consisted more in the unison than in the extent of his powers : he knew better what he could do, what ought to be done, at what point he could arrive, and what lay beyond his reach, than any other artist. Grace of conception and refinement of taste were his elements, and went hand in hand with grace of execution and taste in finish, powerful and seldom possessed singly, irresistible when united...
Pagina 346 - ... the subject on himself. The last manner belongs properly to the ornamental style, which we call the Venetian, being first practised at Venice, but is perhaps better learned from Rubens : here the brightest colours possible are admitted, with the two extremes of warm and cold, and those reconciled by being dispersed over the picture, till the whole appears like a bunch of flowers.
Pagina 345 - All the modes of harmony, or of producing that effect of colours which is required in a picture, may be reduced to three; two of which belong to the grand style, and the other to the ornamental. The first may be called the Roman manner, where the colours are of a full and strong body, such as are found in the Transfiguration : the next is that harmony which is produced by what the Ancients called the corruption.
Pagina 35 - The acuteness of his taste led him to discover that, as all men were connected by one general form, so they were separated, each by some predominant power, which fixed character and bound them to a class : that in proportion as this specific power partook of individual peculiarities, the farther it was removed from a share in that harmonious system which constitutes nature and consists in a due balance of all its parts.
Pagina 83 - His line is uniformly grand. Character and beauty were admitted only as far as they could be made subservient to grandeur. The child, the female, meanness, deformity, were by him indiscriminately stamped with grandeur.
Pagina 305 - By Nature, I understand the general and permanent principles of visible objects, not disfigured by accident or distempered by disease, not modified by fashion or local habits. Nature is a collective idea, and though its essence exist in each individual of the species, can never in its perfection inhabit a single object...
Pagina 48 - ... but merely copied from the description of the sacrifice, as it is found in Euripides. " The words from which the picture is supposed to be taken, are these: Agamemnon saw Iphigenia advance towards the fatal altar; he groaned, he turned aside his head, he shed tears, and covered his face with his robe. " Falconet does not at all acquiesce in the praise that is bestowed on Timanthes; not only because it is not his invention, but because he thinks meanly of this trick of concealing, except in instances...
Pagina 80 - ... musician, man of science, and sometimes empiric, he laid hold of every beauty in the enchanted circle — but without exclusive attachment to one, dismissed, in her turn, each. Fitter to scatter hints than teach by example, he wasted life insatiate in experiment.
Pagina 82 - Sublimity of conception, grandeur of form, and breadth of manner are the elements of Michael Angelo's style.* By these principles he selected or rejected the objects of imitation. As painter, as sculptor, as architect, he attempted, and above any other man succeeded, to unite magnificence of plan and endless variety of subordinate parts with the utmost simplicity and breadth.