The Epochs of Painting Characterized: A Sketch of the History of Painting, Ancient and Modern, Showing Its Gradual and Various Development from the Earliest Ages to the Present TimeC. Cox, 1847 - 509 páginas |
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already ancient Andrea Annibale Annibale Carracci antique Apelles appears artists Athens Bartolomeo beautiful Bologna born called Carracci cartoon celebrated century chapel character characteristic chiefly Christ church Cimabue colour commenced composition contemporaries Correggio costume death died distinguished Domenichino doubtless draperies earliest effect Egypt Egyptian eminent engraved equally excellent executed Eyck figures Florence Florentine Fra Bartolomeo Francesco frescoes Giotto Giovanni Greece Greek Guido Hist illuminations imitation Italian Italy landscape Leonardo light and shade likewise Luca Madrid Masaccio masters Michelangelo National Gallery nature notice objects painters Paul Penny Cyclopædia period picture Pietro Pisa Pliny Plutarch Polygnotus portrait painter principal probably Protogenes pupil Raphael reign remarkable Rembrandt represented Roman Rome Rubens Saint says scholars school of painting sculpture Seville Sir Joshua Reynolds Sistine Spain Spanish style taste temple Timanthes Tintoretto tion Titian unity of light Vandyck Vasari Vatican Velazquez Venetian Venice Vinci Virgin Zeuxis
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Página 137 - But thou, Beth-lehem Ephratah, though thou be little among the thousands of Judah, yet out of thee shall he come forth unto me that is to be ruler in Israel; whose goings forth have been from of old, from everlasting.
Página 492 - West has conquered — he has treated his subject as it ought to be treated — I retract my objections. I foresee that this picture will not only become one of the most popular, but will occasion a revolution in art.
Página 310 - Venetians must be allowed extraordinary skill, yet even that skill, as they have employed it, will but ill correspond with the great style. Their colouring is not only too brilliant, but, I will venture to say, too harmonious, to produce that solidity, steadiness, and simplicity of effect, which heroic subjects require, and which simple or grave colours only can give to a work.
Página 278 - ... feet. But Peter said, Ananias, why hath Satan filled thine heart to lie to the Holy Ghost, and to keep back part of the price of the land? Whiles it remained, was it not thine own? and after it was sold, was it not in thine own power ? why hast thou conceived this thing in thine heart ? thou hast not lied unto men, but unto God.
Página 276 - Mars' hill, and said, Ye men of Athens, I perceive that in all things ye are too superstitious. For as I passed by, and beheld your devotions, I found an altar with this inscription, TO THE UNKNOWN GOD. Whom therefore ye ignorantly worship, him declare I unto you.
Página 273 - Then the priest of Jupiter, which was before their city, brought oxen and garlands unto the gates, and would have done sacrifice with the people.
Página 273 - Which when the apostles, Barnabas and Paul, heard of, they rent their clothes, and ran in among the people, crying out, and saying, Sirs, why do ye these things ? We also are men of like passions with you, and preach unto you that ye should turn from these vanities unto the living God, which made heaven, and earth, and the sea, and all things that are therein...
Página 312 - Italian schools, yet there is a sort of senatorial dignity about him, which, however awkward in his imitators, seems to become him exceedingly. His portraits alone, from the nobleness and simplicity of character which he always gave them, will entitle him to the greatest respect, as he undoubtedly stands in the first rank in this branch of the art.
Página 492 - I answered, that the event to be commemorated happened in the year 1758, in a region of the world unknown to the Greeks and Romans, and at a period of time when no warriors who wore such costume existed. The subject I have to represent is a great battle fought and won, and the same truth which gives law to the historian should rule the painter.
Página 376 - Style in painting is the same as in writing, a power over materials, whether words or colours, by which conceptions or sentiments are conveyed.