Modern Painters, Volume 2Routledge, 1856 - 402 páginas John Ruskin was the most influential art critic during the Victorian period. His five volume book Modern Painters was written in opposition against art critics who were opposed to the paintings of J.M.W. Turner. Ruskin was a collector of Turner's works and the two were friends. In his writings, Ruskin was a harsh critic towards classical art, and believe that the landscape paintings of Turner and others demonstrated a superior understanding of "truth." |
No interior do livro
Resultados 1-5 de 36
Página xi
... .............. § 13. Apparent Proportion in lines ........................ .. PAGE 41 42 42 43 44 44 45 45 46 46 15 47 47 49 50 51 51 53 53 55 55 57 58 59 59 60 61 62 § 14. Error of Burke in this matter ...................................
... .............. § 13. Apparent Proportion in lines ........................ .. PAGE 41 42 42 43 44 44 45 45 46 46 15 47 47 49 50 51 51 53 53 55 55 57 58 59 59 60 61 62 § 14. Error of Burke in this matter ...................................
Página 30
... line of the outward frame . So then , as in that with which we are made familiar the repulsiveness is constantly ... lines , we may contemplate it for years together if we will , it and nothing else , but we shall not get ourselves ...
... line of the outward frame . So then , as in that with which we are made familiar the repulsiveness is constantly ... lines , we may contemplate it for years together if we will , it and nothing else , but we shall not get ourselves ...
Página 37
... lines of any spacious kind against the sky , behind which there might be conceived the Sea . It is an emotion more ... line cutting against the sky , and re- § 3. The child instinct respect- ing space . in after life . ceiving a more ...
... lines of any spacious kind against the sky , behind which there might be conceived the Sea . It is an emotion more ... line cutting against the sky , and re- § 3. The child instinct respect- ing space . in after life . ceiving a more ...
Página 39
... line be subdued or majestic ; the fairer forms of earthly things are by them subdued and disguised , the round and muscular growth of the forest trunks is sunk into skeleton lines of quiet shade , the purple clefts of the hill side are ...
... line be subdued or majestic ; the fairer forms of earthly things are by them subdued and disguised , the round and muscular growth of the forest trunks is sunk into skeleton lines of quiet shade , the purple clefts of the hill side are ...
Página 44
... lines nor surfaces of nature without curvature ; though as we before saw in clouds , more especially in their under lines towards the horizon , and in vast and extended plains , right lines are often suggested which are not actual ...
... lines nor surfaces of nature without curvature ; though as we before saw in clouds , more especially in their under lines towards the horizon , and in vast and extended plains , right lines are often suggested which are not actual ...
Índice
1 | |
2 | |
3 | |
4 | |
5 | |
8 | |
9 | |
10 | |
158 | |
159 | |
160 | |
161 | |
163 | |
164 | |
165 | |
166 | |
11 | |
12 | |
13 | |
14 | |
15 | |
16 | |
17 | |
26 | |
47 | |
70 | |
81 | |
95 | |
98 | |
102 | |
103 | |
104 | |
105 | |
106 | |
108 | |
109 | |
110 | |
112 | |
113 | |
114 | |
115 | |
116 | |
117 | |
118 | |
119 | |
120 | |
121 | |
122 | |
123 | |
124 | |
126 | |
127 | |
129 | |
142 | |
148 | |
152 | |
153 | |
154 | |
155 | |
156 | |
168 | |
169 | |
170 | |
171 | |
172 | |
174 | |
175 | |
176 | |
177 | |
178 | |
179 | |
182 | |
183 | |
184 | |
185 | |
186 | |
187 | |
188 | |
189 | |
191 | |
194 | |
195 | |
196 | |
197 | |
198 | |
199 | |
200 | |
201 | |
202 | |
203 | |
204 | |
205 | |
206 | |
207 | |
208 | |
209 | |
210 | |
211 | |
212 | |
213 | |
214 | |
215 | |
216 | |
219 | |
Outras edições - Ver tudo
Palavras e frases frequentes
Adamite Aiguilles Verte angel Angelico animal artist bodily body Brera Gallery Camillo Procaccini Chap character Christ clouds colour combination conceive conception Correggio creature delight desire dignity Divine evident evil exist expression eyes fancy farther fear feeling Fra Angelico Fra Bartolomeo function Gentile Bellini Giorgione Giotto glory hand heart human form ideal form Imaginative faculty imperfection impressions instance intellectual kind landscape less light look lower Madonna Masaccio matter Michael Angelo mind Mino da Fiesole modes moral nature necessary never noble object observed operation outward painful painted painter passion perception perfect Perugino picture Pitti Palace plant pleasure portraiture present proportion pure purity Raffaelle reader received repose respect rightly seen sense sensual shadow sight signs Soldanella alpina species spirit sublime suppose Theoretic faculty things Tintoret tion Titian tree trunk truth typical beauty unity Venice visible zinc
Passagens conhecidas
Página 133 - And he took up his parable and said, Balaam the son of Beor hath said, and the man whose eyes are open hath said...
Página 37 - 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.
Página 163 - 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...
Página 34 - The sounding cataract Haunted me like a passion : the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms were then to me An appetite ; a feeling and a love That had no need of a remoter charm, By thought supplied, or any interest Unborrowed from the eye.
Página 128 - On every corse there stood. This seraph-band, each waved his hand: It was a heavenly sight! They stood as signals to the land, Each one a lovely light; This seraph-band, each waved his hand, No voice did they impart No voice; but oh!
Página 161 - The fancy sees the outside, and is able to give a portrait of the outside, clear, brilliant, and full of detail. The imagination sees the heart and inner nature, and makes them felt, but is often obscure, mysterious, and interrupted, in its giving of outer detail.
Página 192 - Branchless and blasted, clenched with grasping roots The unwilling soil. A gradual change was here Yet ghastly. For, as fast years flow away, The smooth brow gathers, and the hair grows thin And white, and where irradiate dewy eyes Had shone, gleam stony orbs : — so from his steps Bright flowers departed, and the beautiful shade Of the green groves, with all their odorous winds And musical motions.
Página 4 - He hath made every thing beautiful in his time: also he hath set the world in their heart, so that no man can find out the work that God maketh from the beginning to the end.
Página 192 - Its stony jaws, the abrupt mountain breaks, And seems, with its accumulated crags, To overhang the world: for wide expand Beneath the wan stars and descending moon Islanded seas, blue mountains, mighty streams, Dim tracts and vast, robed in the lustrous gloom Of leaden-coloured even, and fiery hills Mingling their flames with twilight, on the verge Of the remote horizon.
Página 4 - Utilitarians, who would turn, if they had their way, themselves and their race into vegetables ; men who think, as far as such can be said to think (!), that the meat...