A General Dictionary of Painters: Containing Memoirs of the Lives and Works of the Most Eminent Professors of the Art of Painting, from Its Revival, by Cimabue in the Year 1250, to the Present Time

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Page 374 - ... but as he was always attentive to the general effect, or whole together, I have often imagined that this unfinished manner contributed even to that striking resemblance for which his portraits are so remarkable.
Page 470 - Mr. Hogarth's dutiful respects to Lord . Finding that he does not mean to have the picture which was drawn for him, is informed again of Mr. Hogarth's necessity for the money. If, therefore, his Lordship does not send for it in three days it will be disposed of, with the addition of a tail, and some other little appendages, to Mr. Hare, the famous wild-beast man: Mr.
Page 242 - He understood how to distribute his lights in such a manner, as was wholly peculiar to himself, which gave a great force and great roundness to his figures. This manner consists in extending a large light, and then making it lose itself insensibly in the dark shadowings, which he placed out of the masses ; and those give them this...
Page 375 - Among others he had a habit of continually remarking to those who happened to be about him whatever peculiarity of countenance, whatever accidental combination of figure, or happy effects of light and shadow, occurred in prospects, in the sky, in walking the streets, or in company.
Page 474 - None of the sober grief, no dignity of suppressed anguish, no involuntary tear, no settled meditation on the fate she meant to meet, no amorous warmth turned holy by despair ; in short all was wanting that should have been there, all was there that such a story should have banished from a mind capable of conceiving such complicated woe : woe so sternly felt and yet so tenderly.
Page 375 - If, in his walks, he found a character that he liked, and whose attendance was to be obtained, he ordered him to his house : and from the fields he brought into his painting-room, stumps of trees, weeds, and animals of various kinds ; and designed them, not from memory, but immediately from the objects. He even framed a kind of model of landscapes on his table ; composed of broken stones, dried herbs, and...
Page 375 - ... from the fields he brought into his painting-room stumps of trees, weeds, and animals of various kinds, and designed them not from memory, but immediately from the objects. He even framed a kind of model of landscapes on his table, composed of broken stones, dried herbs, and pieces of looking-glass, which he magnified and improved into rocks, trees, and water. How far this latter practice may be useful in giving hints the professors of landscape can best determine.
Page 474 - Not to mention the wretchedness of the colouring, it was the representation of a maudlin strumpet just turned out of keeping, and with eyes red with rage and usquebaugh, tearing off the ornaments her keeper had given her.
Page 375 - In his fancy-pictures, when he had fixed on his object of imitation, whether it was the mean and vulgar form of a wood-cutter, or a child of an interesting character, as he did not attempt to raise the one, so neither did he lose any of the natural grace and elegance of the other; such a grace, and such an elegance, as arc more frequently found in cottages than in courts.
Page 473 - ... propensity to merriment, on the most trivial occasions, is observable in one of his -cards requesting the company of Dr. Arnold King to dine with him at the Mitre. Within a circle, to which a knife and. fork are the supporters, the written part is contained. In the centre is drawn a pye, with a mitre on the top of it ; and the invitation concludes with the following sport on three of the Greek letters — to Eta Seta Pi.

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