The Picture Collector's Manual: Dictionary of names

Front Cover
T. & W. Boone, 1849 - Painters

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Page 360 - Sir Joshua Reynolds was on very many accounts one of the most memorable men of his time. He was the first Englishman who added the praise of the elegant arts to the other glories of his country. In taste, in grace, in facility, in happy invention, and in the richness and harmony of colouring, he was equal to the great masters of the renowned ages.
Page iv - Mind, mind alone, bear witness earth and heaven ! The living fountain, in itself contains Of beauteous and sublime.
Page 57 - His line is uniformly grand. Character and beauty were admitted only as far as they could be made subservient to grandeur.
Page 479 - ... might naturally be supposed that the effect would be a high degree of softness; but it is notoriously the contrary ; and I think, for the reason that has been given, his flesh has the appearance of ivory, or plaster, or some other hard substance. What contributes likewise to give this hardness is a want of transparency in his colouring, from his admitting little or no reflections of light.
Page 360 - It was with no common eye that he beheld the productions of the great masters. He copied and sketched in the Vatican such parts of the works of Raphael and Michael Angelo as he thought would be most conducive to his future excellence, and by his well-directed study acquired, while he contemplated the best works of the best masters, that grace of thinking, to which he was principally indebted for his subsequent reputation as a portrait painter.
Page 253 - He studied under Charles de la Fosse, and painted history in the style of that master. Among other excellent works by him, is a picture of Christ appearing to Mary, in the church of Notre Dame. He was chosen a Royal Academician in 1702; and died in 1719.
Page xx - Style in painting is the same as in writing, a power over materials, whether words or colours, by which conceptions or sentiments are conveyed.
Page 303 - His best works possess, in an eminent degree, what artists term breadth. Few painters have shown so perfect an eye to the purity of color, and in some of his works he appears to have emulated the rich and harmonious tones of Rembrandt and Titian; and even Fuseli says that nature had endowed him with an exquisite eye for color, and pronounces his coloring in the 'Murder of James I' unrivalled among the productions of his contemporaries and approaching the excellence of Titian.
Page xix - The plaster is only to be laid on as the painting proceeds, no more being done at once than the painter can despatch in a day. The colours, being prepared with water, and applied over plaster quite fresh, become incorporated with the plaster, and retain their beauty for a great length of time.
Page 349 - ... among the paintings of the greatest masters. He was generally fond of a strong morning light, which allowed him to give a more lively verdure to his trees. His distances die away by proper breakings of the ground, diversified...