 | William Seward - 1796 - 430 páginas
...a f* grove, where the fmaller branches meet at top. The " To fpeak of Vanbrugh," adds Sir Jofhua, " in the language of a Painter, he had originality " of invention ; he underftood light and fhadow, *c and had great fkill in compofuion. To fup" port his principal objeft,... | |
 | William Seward - 1796 - 418 páginas
...f grove, where the fmaller branches meet at top. The " To fpcak of Vanbrugh," ado's Sir Joftua, ** in the language of a Painter, he had originality " of invention ; he underftood light and fhadow, *' and had great fkill in compofition. To fup" port his principal object,... | |
 | Sir Joshua Reynolds, Edmond Malone - 1801 - 452 páginas
...When I speak of Vanbrugh, I mean to speak of him in the language of our art. To speak then of Vanbrugh in the language of a Painter, he had originality of...the back-ground ; by which the design and invention is set off to the greatest advantage. What the back-ground is in Painting, in Architecture is the real... | |
 | sir Joshua Reynolds - 1801 - 450 páginas
...I speak of Vanbrugh, I mean to speak of him in the i language of our art. To speak then of Vanbrugh in the language of a Painter, he had originality of...the back-ground ; by which the design and invention is set off to the greatest advantage. What the back-ground is in Painting, in Architecture is the real... | |
 | Alexander Chalmers - 1816 - 528 páginas
...display of imagination than we shall find, perhaps, in any other; and this is the ground of the effect we feel in many of his works, notwithstanding the faults...principal object, he produced his second and third groupes or masses. He perfectly understood in his art, what is the most difficult in ours, the conduct... | |
 | Alexander Chalmers - 1816 - 520 páginas
...For this purpose Vanbrugh appears to have had recourse to some principles of the Gothic architectnre, which, though not so ancient as the Grecian, is more...principal object, he produced his second and third groupes or masses. He perfectly understood in his art, what is the most difficult in ours, the conduct... | |
 | Sir Joshua Reynolds - 1819 - 446 páginas
...When I speak of Vanbrugh, I mean to speak of him in the language of our art. To speak then of Vanbrugh in the language of a Painter, he had originality of...the back-ground ; by which the design and invention is set off to the greatest advantage. What the back-ground is in Painting, in Architecture is the real... | |
 | sir Joshua Reynolds - 1819 - 440 páginas
...When I speak of Vanbrugh, I mean to speak of him in the language of our art. To speak then of Vanbrugh in the language of a Painter, he had originality of...the back-ground ; by which the design and invention is set off to the greatest advantage. What the back-ground is in Painting, in Architecture is the real... | |
 | Sir Joshua Reynolds - 1824 - 324 páginas
...the language of our art. To speak then of Vanbrugh in the language of a painter, he had ori* ginality of invention, he understood light and shadow, and...great skill in composition. To support his principal objects, he produced his second and third groups or masses; he perfectly understood in his art what... | |
 | 1787 - 516 páginas
...concemed than with abfolute truth. S.'r Joftua RejnoUi" Difcourfe 1786. p. 15. To fpeik of Vanburgh in the language of a painter, he had originality of invention ; he underftood light and Shadow, and had great Skill in composition. To Support his principal objeiV, he... | |
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I mean to speak of him in the language of our art. To speak then of Vanbrugh in the language of a Painter, he had originality of invention, he understood light and shadow, and had great skill in composition. 
