Essays on ArtMacmillan and Company, 1866 - 315 Seiten |
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Abbey Academy admirable Albert Memorial amongst appears architecture artist attempt Baron Marochetti beauty Behnes bronze bust character colour common commonplace contemporary criticism decoration Diadumenos difficult Discobolos drapery drawing dress Dyce effect England English art English sculpture examples excellence execution Exhibition expression eyes favour feeling figure Flandrin Flaxman FRANCIS TURNER PALGRAVE French frescoes genius George Cruikshank girl give Gothic grace head hence human humour Hunt's idea imaginative Ingres interest Jan Steen labour landscape less look marble Marochetti merit Millais modelling modern Molières monument Mulready nature noble noticed ornament painter painting Palace of Westminster Parthenon patronage patrons perhaps Phidias picture picturesque poetical poetry popular portrait portraiture Pre-Raphaelite rank rarely refinement remarks render scene sense sentiment skill specimens spectators style success taste Theed things Thorvaldsen tion Titian Trafalgar Square true truth whilst William Behnes
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Seite 154 - But when Moses went in before the Lord, to speak with him, he took the vail off, until he came out. And he came out and spake unto the children of Israel that which he was commanded. And the children of Israel saw the face of Moses, that the skin of Moses...
Seite 141 - Mm — how, when asked why he laid on this or that tint in one of his exquisite water-colour paintings, he said, " I am trying at it." This earnest " trying" led him to those enlargements of the technical methods of his art which we have referred to. Flowers and leaves, fruit and moss, the plumage and scale of bird and fish, the flush on the cheek of youth or the gleaming hair of childhood — all these, with indeed whatever else fell within the range of his pencil, required richer tints, more varied...
Seite 141 - Hunt's style was marked by the simplicity and modesty which we have mentioned as characterizing his disposition. From first to last it was the same quiet, incessant, humble-hearted obedience to the nature which he wished to reproduce and to fix in art. .... Passing from the materials of the work to the artist's power in applying them, Hunt may be said to have united in a very mre degree the two great elements of painting.
Seite 30 - ... Vandyke's portraits are always of one type, thin and elegant, with long, tapered fingers. He was followed in these particulars by Lely with still more of affectation, who carried a corresponding mannerism into his faces, losing nearly all individuality in that one style of beauty that was in fashion. A nobleman said to Lely, " How is it that you have so great a reputation, when you know, as well as I do, that you are no painter ? " " True, but I am the best you have,
Seite 50 - Surely a work like this, with the many charming specimens in the same style which we have received from this artist, may be admitted as evidence in what direction his genius really lies ; not force, thought, imagination, but refinement, grace, and fancy. It is his work in the latter manner which will at any rate be preferred by all the world to his attempts in the terribile via of life-size allegories.
Seite 205 - If it be granted that poetry in colour or carving springs from the poetry of the artist's own mind, we have an easy explanation of many failures and successes. Nothing in all art has yet equalled the sculptures of the Parthenon in poetical quality of the very highest order. But this will not astonish any one acquainted with Athenian history, when he finds that Phidias was the intimate and equal friend of Pericles. Michel Angelo has left poetry which of itself explains the intensely imaginative and...
Seite 105 - Phillip's prominent faults were an amount of coarseness and an absence of subtlety in his works. His merits were those of native vigor, and of the acquisition of a rich and mellow, if exaggerated, type of form and color. .... The Spectator says,
Seite 307 - N. side of the nave of Exeter Cathedral ; and which, from its size and obtrusiveness, is necessarily the first object to catch the eye of the entering visitor. The design (two mounted lancers and two palm-trees — it is by Baron Marochetti) is utterly without meaning, and is precisely such as a child •would draw on a slate.