Category: Art
It cannot be considered as superfluous or assuming to present the reader of the following lectures, with a succinct characteristic sketch of the principal technic instruction, ancient and modern, which we possess: I say, a sketch, for an elaborate and methodical survey, or a p...
It cannot be considered as superfluous or assuming to present the reader of the following lectures, with a succinct characteristic sketch of the principal technic instruction, a...
2. Part 2I shall not detail here the reasons and the coincidence of fortunate circumstances which raised the Greeks to be the arbiters of form.[4] The standard they erected, the canon th...
3. Part 3‘Mr. Falconet has observed, in a note on this passage in his translation of Pliny, that the circumstance of covering the face of Agamemnon was probably not in consequence of any...
4. Part 4The refinements of expression were carried still farther by the disciple of Aristides, Euphranor the Isthmian, who excelled equally as painter and statuary, if we may form our j...
5. Part 5Form not your judgment of an artist from the exceptions which his conduct may furnish, from the exertions of accidental vigour, some deviations into other walks, or some unpreme...
6. Part 6The same revolution of mind that had organized the arts of Italy, spread, without visible communication, to Germany, and towards the decline of the fifteenth century, the uncout...
7. Part 7Form in its widest meaning, the visible universe that envelops our senses, and its counterpart the invisible one that agitates our mind with visions bred on sense by fancy, are...
8. Part 8From these specimens of invention exerted in the more numerous compositions of this _sublime_ cycle, let me fix your attention for a few moments on the powers it displays in the...
9. Part 9Were this charge founded, I might content myself with observing, that the transfiguration, more than any other of Raphael’s oil-pictures, was a public performance, destined by J...
10. Part 10From these observations on positive we now proceed to the class of _negative_ subjects. Negative we call those which in themselves possess little that is significant, historical...
11. Part 11The rival picture of the resuscitation of Lazarus, the Transfiguration of Christ by Raffaello, avoids the inconvenience of indiscriminate crowding, and the impertinent _luxurian...
12. Part 12It cannot be denied that, if this positive opposition gave superior distinctness, it occasioned sometimes abruptness. Each part is broad, but separation is too visible. Reflexes...
13. Part 13Truth is the next requisite of chiaroscuro, whatever be the subject. Some it attends without ambition, content with common effects, some it invigourates or inspires: but in eith...
14. Part 14But all preceding, contemporary, and subsequent schools, with their united powers of chiaroscuro, were far excelled both in compass and magnitude of its application by the geniu...
15. Part 15Malvasia, author of the _Felsina Pittrice_, has made this sonnet the text to his drowsy rhapsody on the frescoes of Lodovico Carracci and some of his scholars, in the cloisters...