LecturesH. Colburn and R. Bentley, 1831 |
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absorbed Agamemnon Agasias Agnolo Agostino Agostino Carracci Albert Durer ancients Andrea Mantegna Annibale Carracci Apelles appears artist attitude beauty breadth called Carracci cartoon centre character characteristic charms chiaroscuro Christ colour composition conception Correggio dæmon died dignity discrimination Domenichino drapery effect elegance elements energy epic equal Eupompus exhibit expression fancy feature female figure frescoes genius Giorgione grace grandeur hand harmony head Homer hues human idea imitation infant inferior invention Julio less light and shade Lionardo Lodovico Carracci Lysippus magic manner Masaccio masses master means ment Michael Angelo mind nature object observations ornament painter painting Parrhasius passions perhaps Phidias picture Pietro Pliny Polygnotus portrait Poussin principle propriety purity Quintilian racter Raffaello Raphael Rembrandt Rome Rubens scene scenery simplicity splendour style sublime subordinate taste terror Timanthes Tintoretto tints tion Tiziano tone ture Vasari vigour whilst whole Zeuxis
Brani popolari
Pagina 162 - 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 20 - There must, in the first place, be knowledge, there must be materials; in the second place, there must be a command of words; in the third place, there must be imagination, to place things in such views as they are not commonly seen in; and in the fourth place, there must be presence of mind, and a resolution that is not to be overcome by failures: this last is an essential requisite; for want of it many people do not excel in conversation. Now / want it: I throw up the game upon losing a trick.
Pagina 310 - ... 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 356 - 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 88 - Group, form, and contrast are subordinate to the event, and common-place ever excluded. His expression, in strict unison with and decided by character, whether calm, animated, agitated, convulsed, or absorbed by the inspiring passion, unmixed and pure, never contradicts its cause, equally remote from tameness and grimace: the moment of his choice never suffers the action to stagnate or to expire; it is the moment of transition, the crisis big with the past and pregnant with the future.
Pagina 85 - 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 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 82 - ... 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 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 84 - 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.
Informazioni bibliografiche
| Titolo | Lectures Volume 2 di The Life and Writings of Henry Fuseli ...: The Former Written, and the Latter Edited, George Henry Harlow Volume 2 di The Life and Writings of Henry Fuseli, Henry Fuseli |
| Autore | Henry Fuseli |
| Curatore | John Knowles |
| Editore | H. Colburn and R. Bentley, 1831 |
| Provenienza dell'originale | la University of Wisconsin - Madison |
| Digitalizzato | 2 giu 2007 |
| Esporta citazione | BiBTeX EndNote RefMan |