The Life of Sir David Wilkie: With His Journals, Tours, and Critical Remarks on Works of Art; and a Selection from His Correspondence, 第 2 巻J. Murray, 1843 |
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admired Allan appears Apsley House artist beautiful Brook Taylor called Chelsea Pensioners church Cimabue Collins colour Correggio Cupar D. W. TO THOMAS David Lister DAVID WILKIE dear Sir dress Duke Edinburgh effect England English engraving Escurial excellent Exhibition expression favour feel figures Florence fresco gallery Genoa give gratified Guercino guineas head Henry Raeburn honour hope interest Italian Italy journey Kensington kind King of Bavaria labours Lady letter light London look Lord Madrid Majesty master Michael Angelo MISS WILKIE Munich Murillo painted painter palace Palazzo Paris Paul Veronese perhaps picture pleased portrait present Prince Raphael received request rich Rome Rubens scarcely Scotland sculpture seems seen shadows Sir George Beaumont Sir Thomas Lawrence sister sketch Spain style taste thing THOMAS WILKIE thought Titian told tone travelling Vandyke Velasquez Venice wish
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340 ページ - Notte of Correggio is what I expected the most from, and the condition of which has given me the greatest disappointment. Yet, how beautiful the arrangement ! All the powers of the art are here united to make a perfect work. Here the simplicity of the drawing of the Virgin and Child is shown in contrast with the foreshortening of the group of Angels ; the strongest unity of effect with the most perfect system of intricacy. The emitting the light from the child, though a supernatural illusion, is...
448 ページ - a monk in the retirement of his cloister, shut out from the taunts and criticism of the world, seems to have anticipated in his early time all that his art could arrive at in its most advanced maturity ; and this he has been able to do without the usual blandishments of the more recent periods, and with all the higher qualities peculiar to the age in which he lived.
104 ページ - While Peggy laces up her bosom fair, With a blue snood Jenny binds up her hair ; Glaud by his morning ingle takes a beek ; The rising sun shines motty through the reek ; A pipe his mouth, the lasses please his een, And now and then his joke maun interveen.
520 ページ - I saw a large landscape at Madrid, that for breadth and richness I have seldom seen equalled. Titian seemed his model ; and I could venture to fancy that in it Sir George Beaumont and Sir Joshua would have recognised their beau-ideal of landscape.
323 ページ - Magdalen." Wilkie, in speaking of this last, says, "It is in its pristine condition, almost as left by the master, without even varnish. The head, neck, and arms are beautiful ; the face and right arm one of the finest pieces of painting I have wit. nessed." This is a small picture, about 14 by 18 inches, but it is the "lion" of the apartment where it is hung.
439 ページ - ... in harmony with the choice Dutch pictures by which it was surrounded. " After seeing all the fine pictures in France, Italy, and Germany, one must come to this conclusion, that colour, if not the first, is at least an essential quality in painting : no master has as yet maintained his ground beyond his own time without it.
518 ページ - Spain, perhaps it is to be regretted that I see it with an acknowledged bias or prejudice, in which I fear scarcely any will participate. With some of my kindest friends, indeed, much of what I have seen and thought will cast between us an influence like the apple of discord; and if some of our youths with less matured minds - while I write this with one hand, fancy me covering my face with the other - should venture, now that an entrance to that mysterious land has been opened across the Bidassoa,...
468 ページ - Velasquez and Murillo are preferred, and preferred with reason, to all the others, as the most original and characteristic of their school. These two great painters are remarkable for having lived in the same time, in the same school, painted...
333 ページ - Correggio," says Wilkie, writing in 1826, " is no longer what it was — it is a rubbedout picture. The glazings upon the lights having been taken off, they are left white and raw, and can no longer be judged of as the art of that great master."* Elsewhere: "Correggio did not, like Rembrandt, in these effects attempt to give the colour of lamplight ; the phosphorescent quality of light was more his aim, as in his Christ in the Garden.
193 ページ - These alone seem to have addressed themselves to the common sense of mankind. From Giotto to Michael Angelo, expression and sentiment seem the first thing thought of, whilst those who followed seem to have allowed technicalities to get the better of them, until, simplicity giving way to intricacy, they seem to have painted more for the artist and the connoisseur than for the untutored apprehensions of ordinary men.