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Excerpt from On Imitative Art: Its Principles and Progress; With Preliminary Remarks on Beauty, Sublimity, and Taste
The pleasure afforded by Imitation, 102. Imitation in Poetry and Art, 103. Arts in Space and Time, 104. Descriptions of personal beauty erroneous, 105. Descriptions Of landscape, 106; avoided by the Ancients, 107. Descriptions of houses, &c., 108. Divisions Of Art, 109 the Moment in Art, 110. Lessing's Theory, 111. Choice Of the Moment, 112; Should Show the highest degree Of emotion, 113. Les Sing's theory of transitory emotion, 114. Niceties in the Moment, 115 the principal figure, 116. Double Moments, 117. Instances 118 sqq. Raphael's Transfiguration, 121; the chief actor, 122 Peruzzi's Pre sentation Of the Virgin, 123. Invention in painting, 124; the Scene, 125 sq. Landscapes with figures, 127. Painting best for an his torical action, 128. Attalus groups, 129 sq. Size in sculpture, 131. Colossal statues, 132. Size in painting, 133. Relative size, 134; small groups, 135. Pedimental sculptures, 136. Beauty and Expres sion, 137. Theories of Winckelmann and Lessing, 138 sq. Physical Agony, 140. Modified expression false, 141. Laocoon no criterion, 142. Expression in early Art, 143 sq. Claims of Beauty and Expres sion, 145. Painting best for mental agony, 146. Analogy Of Archi tecture and Art, 147; their differences, 148. Gothic cathedrals, 149. Architectural utility and beauty, 150. Round buildings, 151; domes, 152.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Reseña del editor:
Excerpt from On Imitative Art: Its Principles and Progress; With Preliminary Remarks on Beauty, Sublimity, and Taste
The following pages are the result of notes and observations made during several years in many of the principal Galleries of Europe, especially those of Italy, aided by the study of some of the best works on Art The writer pretends not to technical knowledge. His purpose is that of the vast majority of the world; to discover how far a painting, or a piece of sculpture, fulfils its end by striking and satisfying the imagination; whether a statue well embodies the idea attached to it; whether a painting tells its story in a natural- and effective manner; to judge, in short, of Arfr as of a poem, of whose merits the general public are allowed to be the supreme and final arbiters. The sculptor and painter, indeed, by appealing to the eye instead of the ear, use artificial methods, the skill of which forms a separate head of criticism belonging properly to the professional artist. Such criticism, however, concerns more the subordinate kinds and qualities of Art, than those higher merits which waken sympathy and stir the passions, which entrance by beauty or elevate by grandeur. Even here, of course, the technical' excellences of art also contribute to the pleasure of the spectator.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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