Rembrandt and his works. re-ed. by H. Murray1859 |
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admirable aërial Albert Durer Amsterdam Andrea Mantegna appearance artist beard beautiful Book bordered with fur brandt Brauwer breadth Burgomaster Bust catalogue character Christ Claussin compositions of Rembrandt containing Drawings containing Prints Correggio dark Dated ditto effect Engravings etching Ferdinand Bol figure frizzled hair front view full of Prints fur cap genius Giorgione give grisaille Hercules Segers Holland Jean Lievensz John Burnet Landscape Leonardo da Vinci Leyden mantle mass of light master mentioned nature nearly a front nearly a profile objects painted painters Paul Veronese peculiar perceive picture placed plate Portrait of Rembrandt possess principles profile view remarks rendered represented Reynolds right hand robe bordered Rubens Saskia Van Uylenburg says scene seated seen in nearly shadow short frizzled Sir David Wilkie Sir Joshua Sketches style three-quarter view Tintoret tints Titian tone trees truth Vandyke Venetian Venetian school Virgin wears Woman
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الصفحة 35 - The genius of Rubens no where appears to more advantage than here : it is the most carefully finished picture of- all his works. The whole is conducted with the most consummate art ; the composition is bold and uncommon, with circumstances which no other painter had ever before thought of; such as the breaking of the limbs, and the expression of the Magdalen, to which we may add the disposition of the three crosses, which are placed prospectively in an uncommon picturesque manner...
الصفحة 32 - Those painters who have best understood the art of producing a good effect, have adopted one principle that seems perfectly conformable to reason ; that a part may be sacrificed for the good of the whole. Thus, whether the masses consist of light or shadow, it is necessary that they should be compact and of a pleasing shape : to this end some parts may be made darker and some lighter, and reflections stronger than nature would warrant. Paul Veronese took great liberties of this kind. It is said,...
الصفحة 22 - Composition, which is the principal part of the Invention of a Painter, is by far the greatest difficulty he has to encounter. Every man that can paint at all, can execute individual parts ; but to keep those parts in due subordination as relative to a whole, requires a comprehensive view of the art, that more strongly implies genius, than perhaps any other quality whatever.
الصفحة 22 - How much the great style exacts from its professors to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact, may be seen in the Cartoons of Raffaelle.
الصفحة 4 - The dead body is perfectly well drawn (a little foreshortened), and seems to have been just washed. Nothing can be more truly the colour of dead flesh. The legs and feet, which are nearest the eye, are in shadow : the principal light, which is on the body, is by that means preserved of a compact form.
الصفحة 18 - Rembrandt was in my opinion a genius of the first class in whatever relates not to form. In spite of the most portentous deformity, and without considering the spell of his chiaro-scuro, such were his powers of nature — such the grandeur, pathos, or simplicity of his composition, from the most elevated or extensive arrangement to the meanest...
الصفحة 59 - It appears very extraordinary that Rembrandt should have taken so much pains, and have made at last so very ugly and ill-favoured a figure; but his attention was principally directed to the colouring and effect, in which it must be acknowledged he has attained the highest degree of excellence.
الصفحة 4 - To avoid making it an object disagreeable to look at, the figure is • but just cut at the wrist. There are seven other portraits coloured like nature itself, fresh and highly finished. One of the figures behind has a paper in his hand, on which are written the names of the rest: Rembrandt has also added his own name, with the date, 1672.
الصفحة 34 - ... his body admirably expresses, has torn one of his feet from the tree to which it was nailed. The expression in the action of this figure is wonderful. The attitude of the other is more composed, and he looks at the dying Christ with a countenance perfectly expressive of his penitence. This figure is likewise admirable. The Virgin, St. John, and Mary the wife of Cleophas, are standing by, with great expression of grief and resignation; whilst the Magdalen, who is at the feet of Christ, and may...
الصفحة 52 - I have already mentioned, his great affection to his art; since he could not amuse himself in the evenings by any other means so agreeable to himself, I am indeed, much inclined to believe that it is a practice very advantageous and improving to an artist; for by this means he will acquire a new and a higher perception of what is great and beautiful in Nature.