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Lectures on Painting - Delivered to the Students of the Royal Academy
No preview available - 2010
action admire amongst ancient antique appear arrangement Austrian school beautiful Belgian better blue Byzantine called canvas cartoon century certainly charcoal chiton Cimabue cloth color colorist composition copy Correggio costume course David decorative doubt draperies draughtsman drawing dress easel pictures Egyptian endeavor English excellent execution exhibition fashion feeling figure-painting figures finish France French frescoes galleries garment Germany Giotto give Greek Gros hand head Horace Vernet horse idea imitation Ingres intonaco Italian Italy kind landscape landscape art lecture legs less light look mean modern mosaic Mount Athos mural painting Naples yellow nature never nimbi º º old masters ornamented painters palette pallium period personages pict pictorial portraits probably qualities Raffaelle Rembrandt represent Roman Rome Rubens seen shade sketch speaking student style suppose taste tion Titian toga truth tunic wish worn yellow young artist
Page 321 - And it came to pass in those days, when Moses was grown, that he went out unto his brethren, and looked on their burdens: and he spied an Egyptian smiting an Hebrew, one of his brethren. And he looked this way and that way, and when he saw that there was no man, he slew the Egyptian, and hid him in the sand.
Page 160 - Nature, or in other words, what is particular and uncommon, can be acquired only by experience ; and the whole beauty and grandeur of the art consists, in my opinion, in being able to get above all singular forms, local customs, particularities, and details of every kind.
Page 47 - It is not the invention of the painter which creates the picture, but an inviolable law, a tradition of the Catholic church. It is not the painters, but the Holy Fathers, who have to invent and to dictate. To them manifestly belongs the composition, to the painter only the execution.
Page 245 - In the same manner as the historical painter never enters into the detail of colours, so neither does he debase his conceptions with minute attention to the discriminations of drapery. It is the inferior style that marks the variety of stuffs. With him, the clothing is neither woollen, nor linen, nor silk, satin, or velvet: it is drapery; it is nothing more.