The Life and Writings of Henry Fuseli, Volume 2H. 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 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 legitimate 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 Vasari vigour whilst whole Zeuxis
Brani popolari
Pagina 364 - Christ," he says, " is nailed to the cross, with a number of figures exerting themselves to raise it. The invention of throwing the cross obliquely from one corner of the picture to the other, is finely conceived ; something in the manner of
Pagina 121 - was, in my opinion, a genius of the first class in whatever relates not to form. In spite of the most portentous deformity, and without considering the spell of his chiaroscuro, such were his powers of nature, such the grandeur, pathos, or simplicity of his composition,
Pagina 148 - fidente summo duce Agesilao, fugatis jam ab eo conductitiis catervis, reliquam phalangem loco vetuit cedere; obnixoque genu scuto, projectaque hasta, impetum excipere hostium docuit. Id novum Agesilaus intuens, progredi non est ausus,
Pagina 176 - Poussin tied in one vigorous group what he conceived of blood-trained villany and maternal frenzy. Whilst Raphael, in dramatic gradation, disclosed all the mother through every image of pity and of terror; through tears, shrieks, resistance, revenge, to the stunned look of despair; and traced the villain from the palpitations of scarce initiated crime to the sedate grin of veteran murder.
Pagina 87 - Angelo, the salt of art: sometimes he no doubt had his moments of dereliction, deviated into manner, or perplexed the grandeur of his forms with futile and ostentatious anatomy: both met with armies of copyists; and it has been his fate to have been censured for their folly. The inspiration of
Pagina 340 - her freshness: she dictated his scenery. Landscape, whether it be considered as the transcript of a spot, or the rich combination of congenial objects, or as the scene of a phenomenon, as subject and as background, dates its origin from him. He is the father of portrait-painting, of resemblance with form, character with dignity, and costume with subordination. Colour may
Pagina 144 - expavescet circumventus ? exclamabit, vel rogabit, vel fugiet ? non ferientem, non concidentem videbo ? non animo sanguis, et pallor et gemitus, extremus denique expirantis hiatus insidebit ? Idem, 1. vi. c. 11. Theon, numbered with the
Pagina 340 - out of his subject, solemn, grave, gay, minacious, or soothing; his eye tinged Nature with gold without impairing her freshness: she dictated his scenery. Landscape, whether it be considered as the transcript of a spot, or the rich combination of congenial objects, or as the scene of a phenomenon, as subject and as background, dates
Pagina 225 - or tears it from the species, may become an organ of pathos: in this discrimination lies the rule by which our art, to astonish or move, ought to choose the scenery of its subjects. It is not by the accumulation of infernal or magic machinery, distinctly seen, by the introduction of
Pagina 87 - Sanzio, * the father of dramatic painting; the painter of humanity ; less elevated, less vigorous, but more insinuating, more pressing on our hearts, the warm master of our sympathies. What effect of human connexion, what feature of the mind, from the gentlest emotion to the most fervid burst of passion, has been left unobserved, has not received a characteristic stamp from that examiner of man ? M.