The Lives of the Most Eminent British Painters and Sculptors, Volume 2Harper & brothers, 1859 - Painters |
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Page 12
... turn , proposed a painting of the death of Socrates . West had heard of Socrates , and forthwith made a sketch which his employer called clever : but he had now 66 66 and begun to feel his deficiencies and see 12 EMINENT PAINTERS .
... turn , proposed a painting of the death of Socrates . West had heard of Socrates , and forthwith made a sketch which his employer called clever : but he had now 66 66 and begun to feel his deficiencies and see 12 EMINENT PAINTERS .
Page 23
... turning to West , who sat uneasy and agitated . The English held out their hands ; the Italians ran and embraced him . Mengs himself soon arrived ; he looked at the picture , and spoke with great kindness . " Young man , you have no ...
... turning to West , who sat uneasy and agitated . The English held out their hands ; the Italians ran and embraced him . Mengs himself soon arrived ; he looked at the picture , and spoke with great kindness . " Young man , you have no ...
Page 33
... turn- ing to the King , said , " Your Majesty never men- tioned any thing of this work to me ; who made the frame ? it is not made by one of your Majesty's workmen ; it ought to have been made by the royal carver and gilder . " To this ...
... turn- ing to the King , said , " Your Majesty never men- tioned any thing of this work to me ; who made the frame ? it is not made by one of your Majesty's workmen ; it ought to have been made by the royal carver and gilder . " To this ...
Page 40
... turn aside neither to the right nor to the left , but consider that hour lost in which a line had not been drawn nor a masterpiece studied . " Observe , " he said , " with the same contemplative eye the landscape , the appearance of ...
... turn aside neither to the right nor to the left , but consider that hour lost in which a line had not been drawn nor a masterpiece studied . " Observe , " he said , " with the same contemplative eye the landscape , the appearance of ...
Page 57
Allan Cunningham. putes with the lightness of a sailor : she , in her turn , committed her son to the care and conversation of two Catholic priests , who , to learning , added the zeal which thirsts for proselytes - and that enthusiasm ...
Allan Cunningham. putes with the lightness of a sailor : she , in her turn , committed her son to the care and conversation of two Catholic priests , who , to learning , added the zeal which thirsts for proselytes - and that enthusiasm ...
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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...