pt. 1. Of general principles. pt. 2. Of truthJ. Wiley & son, 1888 - Aesthetics |
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Page xxiv
... touching the heart , and that as pictures rise in rank as works of art , they are regarded with less devotion and more curiosity . But , however this may be , and whatever influence we may be disposed to admit in the great works of ...
... touching the heart , and that as pictures rise in rank as works of art , they are regarded with less devotion and more curiosity . But , however this may be , and whatever influence we may be disposed to admit in the great works of ...
Page xxv
... touch in the Frogs in Aristophanes , alluding probably to this part of the Agamemnon . “ Ἐγὼ δ ' ἔχαιρον τῇ σιωπῇ καὶ με τοῦτ ̓ ἕτερπευ οὐκ ἧττον ἢ νῦν ὁι λαλοῦντες . ” The same remark might be well applied to the seemingly vacant or ...
... touch in the Frogs in Aristophanes , alluding probably to this part of the Agamemnon . “ Ἐγὼ δ ' ἔχαιρον τῇ σιωπῇ καὶ με τοῦτ ̓ ἕτερπευ οὐκ ἧττον ἢ νῦν ὁι λαλοῦντες . ” The same remark might be well applied to the seemingly vacant or ...
Page 9
... touching of the green bough beside it , the clear painting of the wood of the coffin and the folds of the blanket , are language - language clear and expressive in the highest degree . But the close pressure of the dog's breast against ...
... touching of the green bough beside it , the clear painting of the wood of the coffin and the folds of the blanket , are language - language clear and expressive in the highest degree . But the close pressure of the dog's breast against ...
Page 34
... touch or effort does individually less in proportion as the work approaches perfec- tion . The first five chalk touches bring a head into existence out of nothing . No five touches in the whole course of the work will ever do so much as ...
... touch or effort does individually less in proportion as the work approaches perfec- tion . The first five chalk touches bring a head into existence out of nothing . No five touches in the whole course of the work will ever do so much as ...
Page 35
... touch has been lost . § 8. Instances in ern artists . For instance , there are few drawings of the pictures of mod- present day that involve greater sensations of power than those of Frederick Tayler . Every dash tells , and the ...
... touch has been lost . § 8. Instances in ern artists . For instance , there are few drawings of the pictures of mod- present day that involve greater sensations of power than those of Frederick Tayler . Every dash tells , and the ...
Contents
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Common terms and phrases
aerial perspective Albert Durer altogether appear architecture artist beauty blue boughs Canaletto character chiaroscuro Claude clouds color colorists conception Copley Fielding dark degree delicate distance distinct drawing edge effect especially evident expression exquisite faculty false farther feeling foliage foreground Gallery Gentile Bellini Giorgione give given gray hills ideal ideas imagination imitation impossible impression instance Italy J. M. W. Turner kind landscape art landscape painters less light and shade lines look mass means mind mist modern mountain nature necessary ness never Nicholas Poussin object observed old masters painting peculiar perception perfect Perugino picture pleasure Poussin present principles proportion pure qualities receive reflection rendered respect Rivers of France rock seen sense shadow space sublime surface things thought Tintoret tion Titian tone touch trees truth ture Turner unity Venice visible whole
Popular passages
Page 17 - And he took up his parable and said, Balaam the son of Beor hath said, and the man whose eyes are open hath said...
Page 365 - From God who is our home. Heaven lies about us in our infancy. Shades of the prison-house begin to close Upon the growing boy; But he beholds the light and whence it flows, He sees it in his joy. The youth who daily farther from the East Must travel, still is Nature's priest, And, by the vision splendid, Is on his way attended. At length the man perceives it die away And fade into the light of common day.
Page 34 - There is not wind enough to twirl The one red leaf, the last of its clan, That dances as often as dance it can, Hanging so light, and hanging so high, On the topmost twig that looks up at the sky.
Page 410 - That which doth assign unto each thing the kind, that which doth moderate the force and power, that which doth appoint the form and measure, of working, the same we term a law.
Page 165 - All has passed, unregretted as unseen; or if the apathy be ever shaken off, even for an instant, it is only by what is gross, or what is extraordinary; and yet it is not in the broad and fierce manifestations of the elemental energies, not in the clash of the hail, nor the drift of the whirlwind, that the highest characters of the sublime are developed. God is not in the earthquake, nor in the fire, but in the still, small voice.
Page 225 - It is one of the most difficult things in the world to...
Page 48 - O Proserpina, For the flowers now that frighted thou let'st fall From Dis's waggon! daffodils That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Juno's eyes Or Cytherea's breath; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength...
Page 47 - Horatio; a fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! my gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar?
Page 49 - Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?
Page 51 - Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.