The Lives of the Most Eminent British Painters and Sculptors, Volume 2
Harper & brothers, 1859 - Painters
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Academy admired affection appeared artist Barry beauty Bird Blake body Burke called carried character colours companion compositions copy death designs desired drawing early employed engravings excellence exhibited expressed eyes fame fancy father feeling figures finished formed fortune friends Fuseli genius give hand happy head historical honour hope imagination Italy kind King knowledge labour learning less letter light lived London looked manner master means merit mind Morland nature never observed obtained opened Opie original painter painting pencil perhaps person picture poet poetic poetry portrait praise present productions Quaker received returned Reynolds Rome round says scene seemed sense sketches skill soon spirit story strong success talents taste thing thought tion took turn West whole wife wild wish young
Page 126 - What the hammer? What the chain? In what furnace was thy brain? What the anvil? What dread grasp Dare its deadly terrors clasp? When the stars threw down their spears, And water'd heaven with their tears, Did He smile His work to see? Did He who made the lamb make thee...
Page 125 - Whether in Heaven ye wander fair, Or the green corners of the earth, Or the blue regions of the air Where the melodious winds have birth...
Page 131 - PIPING down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me: 'Pipe a song about a Lamb!
Page 126 - TIGER! Tiger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder, and what art, Could twist the sinews of thy heart?
Page 150 - So the Lord blessed the latter end of Job more than the beginning...
Page 142 - This is an awful thing to say to oil painters ; they may call it madness, but it is true. All the genuine old little pictures, called cabinet pictures, are in fresco and not in oil.
Page 141 - Colouring does not depend on where the Colours are put, but on where the lights and darks are put, and all depends on Form or Outline. On where that is put; where that is wrong, the Colouring never can be right; and it is always wrong in Titian and Correggio, Rubens and Rembrandt.
Page 232 - Peter's, scattered into infinity of jarring parts by Bramante and his successors, he concentrated ; suspended the cupola, and to the most complex gave the air of the most simple of edifices.
Page 144 - How do we distinguish the oak from the beech, the horse from the ox, but by the bounding outline? How do we distinguish one face or countenance from another, but by the bounding line and its infinite inflexions and movements?
Page 143 - The characters of Chaucer's Pilgrims are the characters which compose all ages and nations: as one age falls, another rises, different to mortal sight, but to immortals only the same; for we see the same characters repeated again and again, in animals, vegetables, minerals, and in men; nothing new occurs in identical existence; Accident ever varies, Substance can never suffer change nor decay. Of Chaucer's characters, as described in his Canterbury Tales...