An essay On the picturesqueJ. Mawman, 1810 |
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iii psl.
... LANDSCAPE . By UVEDALE PRICE , Esq . QUAM MULTA VIDENT PICTORES IN UMBRIS , ET IN EMINENTIA , QUE NOS NON VIDEMUS ! VOL . I. Cicero . LONDON : PRINTED FOR J. MAWMAN , 22 , POULTRY . Lan 418.10 HARVARD UNIVERSITY OCT 29 1990 400021 J. G. ...
... LANDSCAPE . By UVEDALE PRICE , Esq . QUAM MULTA VIDENT PICTORES IN UMBRIS , ET IN EMINENTIA , QUE NOS NON VIDEMUS ! VOL . I. Cicero . LONDON : PRINTED FOR J. MAWMAN , 22 , POULTRY . Lan 418.10 HARVARD UNIVERSITY OCT 29 1990 400021 J. G. ...
vi psl.
... landscape painters , and the principles of their art , with a view to the improvement of real scenery ; and in order to shew how little those works , or the prin- ciples they contain , have been attended to , I have supposed the scenery ...
... landscape painters , and the principles of their art , with a view to the improvement of real scenery ; and in order to shew how little those works , or the prin- ciples they contain , have been attended to , I have supposed the scenery ...
xxiii psl.
... landscapes compared with those of Rubens Illustration from the different characters of smiles , Notc 121 125 126 128 129 131 Ditto of Rembrandt 133 Anecdote of Sir Joshua Reynolds . Note .... 135 Antique statues , standards of grandeur ...
... landscapes compared with those of Rubens Illustration from the different characters of smiles , Notc 121 125 126 128 129 131 Ditto of Rembrandt 133 Anecdote of Sir Joshua Reynolds . Note .... 135 Antique statues , standards of grandeur ...
xxiv psl.
... landscape ..... The first requisite of a picture , is to be a whole .................. . 174 174 The colouring of the Venetian school formed upon the tints in autumn - Note on the Ganymede of Titian 180 That of Rubens , on the fresh ...
... landscape ..... The first requisite of a picture , is to be a whole .................. . 174 174 The colouring of the Venetian school formed upon the tints in autumn - Note on the Ganymede of Titian 180 That of Rubens , on the fresh ...
xxvii psl.
... landscape ... 297 The beauty arising from reflections .. ..... 298 None in Mr. Brown's made water ... The turns of a beautiful natural river , compared with those of Mr. Brown's artificial rivers 299 ....... 300 Remarks on certain ...
... landscape ... 297 The beauty arising from reflections .. ..... 298 None in Mr. Brown's made water ... The turns of a beautiful natural river , compared with those of Mr. Brown's artificial rivers 299 ....... 300 Remarks on certain ...
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Pagrindiniai terminai ir frazės
according admired animals appearance arbutus banks breadth broken Brown buildings Burke called Caravaggio character charm circumstances Claude clumps colour colours of spring Correggio deciduous deformity degree delight distinct effect equally evergreen plantation expression firs foliage fresh gardening Gilpin give grand grandeur ground harmony idea of beauty imitation impression improver intricacy kind landscape less light and shadow lines look manner means ment mind monotony naked nature neral ness objects observed opposite ornament outline painter Palladian architecture peculiar perhaps Picturesque Beauty Pietro da Cortona plantations planted pleasure prevail principles produced qualities of beauty racter Rembrandt Repton rich riety river rough Salvator Rosa scenery scenes seems sense shade shew shewn single tree Sir Joshua Sir Joshua Reynolds smooth soft spect striking style sublime sudden supposed symmetry taste thing tints tion Titian ture turesque ugliness uniform varied variety whole wood word
Populiarios ištraukos
190 psl. - The other shape, If shape it might be call'd that shape had none Distinguishable in member, joint, or limb ; Or substance might be call'd that shadow seem'd, For each seem'd either: black it stood as night, Fierce as ten furies, terrible as Hell, And shook a dreadful dart ; what seem'd his head The likeness of a kingly crown had on.
132 psl. - Making it momentary as a sound, Swift as a shadow, short as any dream ; Brief as the lightning in the collied night, That, in a spleen, unfolds both heaven and earth. And ere a man hath power to say, — Behold ! The jaws of darkness do devour it up : So quick bright things come to confusion.
97 psl. - Looks through the horizontal misty air Shorn of his beams, or from behind the moon In dim eclipse disastrous twilight sheds On half the nations, and with fear of change Perplexes monarchs.
87 psl. - THE passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment : and astonishment is that state of the soul in which all its motions are suspended, with some degree of horror.
190 psl. - The other Shape — If shape it might be called that shape had none Distinguishable in member, joint, or limb; Or substance might be called that shadow seemed, For each seemed either — black it stood as Night, Fierce as ten Furies, terrible as Hell, And shook a dreadful dart: what seemed his head The likeness of a kingly crown had on.
116 psl. - Twas but a kindred sound to move, For pity melts the mind to love. Softly sweet, in Lydian measures Soon he soothed his soul to pleasures. War...
51 psl. - A temple or palace of Grecian architecture in its perfect entire state, and with its surface and colour smooth and even, either in painting or reality is beautiful; in ruin it is picturesque.
89 psl. - ... of sublimity. But as the nature of every corrective, must be to take off from the peculiar effect of what it is to correct, so does the picturesque when united to either of the others. It is the coquetry of nature; it makes beauty more amusing, more varied, more playful, but also, Less winning soft, less amiably mild.
63 psl. - In our own species, objects merely picturesque are to be found among the wandering tribes of gypsies and beggars, who, in all the qualities which give them that character, bear a close analogy to the wild forester and the worn out cart horse, and again to old mills, hovels, and other inanimate objects of the same kind.
165 psl. - ... else has retired into obscurity ; it still forces itself into notice, still impudently stares you in the face. An object of a sober tint, unexpectedly gilded by the sun, is like a serious countenance suddenly lighted up by a smile ; a whitened object like the eternal grin of a fool.