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altar-pieces Amsterdam Anthony Van Dyck artist Basle beauty brush canvas character Charles charm Child Christ Church Collection color colorist composition court death decoration depicted draperies drawing Dutch Dyck Dyck's execution expression eyes face figures Flemish Florence Florentine flourished frescos genius German Giorgione Giovanni Bellini grace greatest Hals hand harmony head Holbein Holbein the Younger honor Infant Italian Italy King Kunst Lady landscape Leipsic Leonardo light lived London Louvre Madonna Madrid Magazine MASTEHS IN AHT master masterpieces Michelangelo Millet models Murillo Museum National Gallery nature never painted painter Palace Paris peasant Philip Philip IV picture Pitti Palace Plate POHTHAIT Pope Portrait portraiture Prado pupil Raphael Rembrandt Renaissance represented Rome Royal Gallery Rubens Saints Sandro Botticelli shadow Sir Joshua Reynolds Spanish style Tintoretto Titian tone truth Uffizi Gallery Vasari Velasquez Venetian Venetian school Venice Venus Virgin Wife Woman young
Page 88 - And yet, the more you come to understand what imaginative colouring really is, that all colour is no mere delightful quality of natural things, but a spirit upon them by which they become expressive to the spirit...
Page 66 - It is this which gives to his Madonnas their unique expression and charm. He has worked out in them a distinct and peculiar type, definite enough in his own mind, for he has painted it over and over again, sometimes one might think almost mechanically, as a pastime during that dark period when his thoughts were so heavy upon him. Hardly any collection of note is without one of these circular pictures, into which the attendant angels depress their heads so naively.
Page 68 - At the end of the fifteenth and the beginning of the sixteenth century, society was in a state of excitement.
Page 66 - Her trouble is in the very caress of the mysterious child, whose gaze is always far from her, and who has already that sweet look of devotion which men have never been able altogether to love, and which still makes the born saint an object almost of suspicion to his earthly brethren.
Page 78 - which gives the superiority to those portraits over all others, and stamps them with a living and permanent interest. Whenever you turn to look at them, they appear to be looking at you. There seems to be some question pending between you, as if an intimate friend or an inveterate foe were in the room with you.
Page 111 - Reynolds, and rendered him at all times a most pleasing companion; always cheerful, and ready to be amused with whatever was going forward, and from an ardent thirst of knowledge anxious to obtain information on every subject that was presented to his mind. In conversation, his manner was perfectly natural, simple, and unassuming. Though he had occasionally dipped into many books, not having had time for regular and...
Page 66 - Botticelli accepts, that middle world in which men take no side in great conflicts, and decide no great causes, and make great refusals. He thus sets for himself the limits within which art, undisturbed by any moral ambition, does its most sincere and surest work.
Page 66 - But, besides those great men, there is a certain number of artists who have a distinct faculty of their own by which they convey to us a peculiar quality of pleasure which we cannot get elsewhere...
Page 84 - Never before,' says M. Michel, ' had Rembrandt achieved such perfection, never again was he to repeat the triumph of that supreme moment when all his natural gifts joined forces, with the vast experiences of a life devoted to his art, in such a crowning manifestation of his genius. Brilliant and poetical, his masterpiece was at the same time absolutely correct and unexceptionable. Criticism which still wrangles over the " Night Watch " is unanimous in its admiration of the Syndics.