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abstract Abstract Art Academic ancient appeal Architecture Aristotle artist attempt Beauty called chap chiaroscuro civilisation Coleridge colour criticism deceptive imitation decorative detail distinct doctrine early edition Elements of Drawing emotions End of Art Engraving ethical expression fact fallacy feeling generalisation give Gothic Gothic architecture Gothic revival Grand Style Greek Art Grotesque hand Hegel highest human ideals ideas Imagination important truths instinct interest keen reviews kind landscape laws Lect Lucca Cathedral material matter means Michelangelo mind Modern Painters moral Nature noble object ornament Oxford Lectures painting perfect Pheidias philosophy photography picture Plato Political Economy Pre-Raphaelitism produced qualities Real Art Realism religion religious Renaissance Reynolds Ruskin Science sculpture seen sense Seven Lamps Sham Art sincerity spirit Stones of Venice student sublime Theoria theory things thought Tintoret tion Titian true Turner virtue vital Art vulgar writings
Page 77 - So it is in many matters of opinion. Our first and last coincide, though on different grounds; it is the middle stage which is farthest from the truth. Childhood often holds a truth with its feeble fingers, which the grasp of manhood cannot retain, which it is the pride of utmost age to recover.
Page 361 - Art, brutality" (I forget the words, but that is their purport): and now, in writing beneath the cloudless peace of the snows of Chamouni, what must be the really final words of the book, which their beauty inspired and their strength guided, I am able, with yet happier and calmer heart than ever heretofore, to enforce its simplest assurance of Faith, that the knowledge of what is beautiful leads on, and is the first step, to the knowledge of the things which are lovely and of good report; and that...
Page 139 - A fine grotesque is the expression, in a moment, by a series of symbols thrown together in bold and fearless connection, of truths which it would have taken a long time to express in any verbal way, and of which the connection is left for the beholder to work out for himself ; the gaps, left or overleaped by the haste of the imagination, forming the grotesque character.
Page 144 - The best in this kind are but shadows ; and the worst are no worse, if imagination amend them.
Page 115 - And perfect happiness is some sort of energy of Contemplation, for all the life of the gods is (therein) glad ; and that of men, glad in the degree in which some likeness to the gods in this energy belongs to them. For none other of living creatures (but men only) can be happy, since in no way can they have any part in Contemplation.
Page 277 - The modern system of modelling the work in clay, getting it into form by machinery and by the hands of subordinates, and touching it at last, if, indeed, the (so-called) sculptor...
Page 278 - ... 1. Not only sculpture, but all the other fine arts, must be for the people. 2. They must be didactic to the people, and that as their chief end. The structural arts, didactic in their manner ; the graphic arts in their matter also. 3. And chiefly the great representative and imaginative arts, that is to say, the drama, and sculpture, are to teach what is noble in past history, and lovely in existing human and organic life.
Page 278 - ... be, in glory. An elementary principle which has been too long out of mind. 142. I leave you to consider it, since, for some time, we shall not again be able to take up the inquiries to which it leads. But, ultimately, I do not doubt that you will rest satisfied in these following conclusions : 1. Not only sculpture, but all the other fine arts, must be for the people. 2. They must be didactic to the people, and that as their chief end.
Page 358 - Those are the two first attributes of the best art. Faultless workmanship, and perfect serenity ; a continuous, not momentary, action, — or entire inaction. You are to be interested in the living creatures ; not in what is happening to them. Then the third attribute of the best art is that it compels you to think of the spirit of the creature, and therefore of its face, more than of its body. And the fourth is that in the face you shall be led to see only beauty or joy ; — never vileness, vice,...
Page 68 - Memory, at whose blessed knee The Nine, which thy dear daughters be, Learnt of the majestic past ; And thou, that in some antre vast Leaning afar off dost lie, Otiose Eternity, Keeping the tablets and decrees Of Jove, and the ephemerides Of the gods, and calendars Of the ever festal stars ; Say, who was .he, the sunless shade, After whose pattern man was made ; He first, the full of ages, born With the old pale polar morn, Sole, yet all ; first visible thought...