The Lives of the Most Eminent British Painters and Sculptors, Volume 2Harper & brothers, 1859 - Painters |
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Page 8
... taste and skill . They showed him some of their own workmanship , and taught him how to prepare the red and yellow colours with which they stained their weapons ; to these his mother added indigo , and thus he was possessed of the three ...
... taste and skill . They showed him some of their own workmanship , and taught him how to prepare the red and yellow colours with which they stained their weapons ; to these his mother added indigo , and thus he was possessed of the three ...
Page 12
... taste and intelligence ; they saw him perform his task with much ability , and came in such crowds to sit to the boy , that he had some trouble in meeting their demands . Those citizens were kindly persons , and easily pleased . A ...
... taste and intelligence ; they saw him perform his task with much ability , and came in such crowds to sit to the boy , that he had some trouble in meeting their demands . Those citizens were kindly persons , and easily pleased . A ...
Page 19
... taste he painted the Trial of Susanna , a work which he loved long after to talk of and describe . From Philadelphia , after painting the heads of all who desired it , he went to New - York ; with which place he was not at first much ...
... taste he painted the Trial of Susanna , a work which he loved long after to talk of and describe . From Philadelphia , after painting the heads of all who desired it , he went to New - York ; with which place he was not at first much ...
Page 20
... taste . Kelly paid him for his portrait , gave him a letter to his agents in Philadelphia , shook him by the hand , and wished him a good voyage . Ere he reached his native place , after an absence of eleven months , all the ...
... taste . Kelly paid him for his portrait , gave him a letter to his agents in Philadelphia , shook him by the hand , and wished him a good voyage . Ere he reached his native place , after an absence of eleven months , all the ...
Page 25
... taste for those arts which have elevated the nature of man - an assurance that his land will be the refuge of science and know- ledge , when in the old age of Europe they shall have forsaken her shores . All things of heavenly origin ...
... taste for those arts which have elevated the nature of man - an assurance that his land will be the refuge of science and know- ledge , when in the old age of Europe they shall have forsaken her shores . All things of heavenly origin ...
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Common terms and phrases
admired Amelia Opie appeared artist Barry Barry's beauty Benjamin West Bird Blake brethren Burke called character colours companion compositions copy death Domenichino drawing easel eminent engravings excellence exclaimed exhibited eyes fame fancy father feeling Felpham finished formed fortune friends Fuseli gallery genius GEORGE MORLAND grace grave guineas hand happy Hassell Henry Fuseli historical honour imagination imbodied invention kind King labour lived London looked Lord Lord Grosvenor Majesty master merit Michael Angelo Milton mind Morland nation nature never Opie original painter painting pencil person picture Pindar poet poetic poetry portrait praise Prince Hoare productions Quaker racter Raphael Rembrandt Reynolds Rome Royal Academy says scene seemed Shakspeare Sir Joshua Sir Joshua Reynolds Sistine Chapel sketches skill spirit talents taste temper thing thought tion Titian tures visions West wife wild wish Wolcot young
Popular passages
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...