Bryan's Dictionary of Painters and Engravers, Том 1G. Bell, 1925 |
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17th century admired Adoration afterwards altar-piece Amsterdam Andrea Angels Annibale Carracci ANTONIO Antwerp artist became Berlin Bologna born in Paris brother Carracci cathedral celebrated chapel Charles chiefly Christ church of San colouring Correggio death decorated designs died in Paris Domenichino Domenico drawing Dresden Duke employed engraver etched executed exhibited father figures Florence flourished Francesco Francis FRANÇOIS French engraver fresco Genoa Giovanni graver Guido historical painter Holy Family imitated Infant Jesus Italian Italy JEAN John Joseph landscape painter London Louis Louvre Madonna and Child Madrid Magdalene Martyrdom of St Mary master Michelangelo Milan miniature Munich Museum Naples National Gallery native painted painter Palace Paolo Paolo Veronese Paris Peter Pietro Pietro da Cortona plates portrait painter principal prints pupil Raphael representing Rome Royal Academy Saints Santa Maria scenes scholar signed and dated studied style Titian Uffizi Venice Vienna views Virgin and Child visited water-colour
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Стр. 125 - At the end of the 17th and beginning of the 18th century, ballad was defined as a ' a common song sung up and down the street.
Стр. 139 - A curious Herbal, containing five hundred cuts of the most useful plants which are now used in the practice of physic, engraved on folio copper plûtes, afler drawings taken from the life, by Elizabeth Blackwell. To which is added, a short description of the plants, and their common uses in physic, ? vols, folio.
Стр. 39 - Toledo at the end of the 16th and beginning of the 17th century. The frontispiece to the ' History of Our Lady of Guadaloupe,' containing the portrait of that ungainly idol, published in 1597, is one of his earliest works.
Стр. 141 - ... stopping-out varnish of engravers. Then all the white parts or lights, the remainder of the plate that is, were eaten away with aquafortis or other acid, so that the outline of letter and design was left prominent, as in stereotype. From these plates he printed off in any tint, yellow, brown, blue, required to be the prevailing or ground colour in his facsimiles ; red he used for the letterpress. The page was then coloured up by hand in imitation of the original drawing with more or less variety...
Стр. 141 - CLEARNESS and precision have been the chief objects in painting these Pictures. Clear colours unmudded by oil, and firm and determinate lineaments unbroken by shadows, which ought to display and not to hide form, as is the practice of the latter Schools of Italy and Flanders.
Стр. 90 - Tarentum in Calabria ; neither the date of his birth nor that of his death is known, but it would appear that he was living between AD 1442 and 1458...
Стр. 130 - Treviso, and flourished towards the close of the 15th and the beginning of the 16th century.
Стр. 37 - II., Duke of Mantua, passing through Florence to Rome, had seen this picture, and had requested Clement VII. to make him a present of it, when the Pope gave directions to Ottaviano de' Medici to send the portrait to Mantua.
Стр. 141 - This method, to which Blake henceforth consistently adhered for multiplying his works, was quite an original one. It consisted in a species of engraving in relief both words and designs. The verse was written and the designs and marginal embellishments outlined on the copper with an impervious liquid, probably the ordinary stopping out varnish of engravers.
Стр. 47 - Calumny, as if inviting her to approach. He is attended by Ignorance and Suspicion, who are placed by his side. Calumny advanced in the form of a beautiful female, her countenance and demeanour exhibiting an air of fury and hatred. In one hand she held the torch of Discord, and with the other dragged by the hair a youth, personifying Innocence, who, with eyes raised to heaven, seemed to implore the succour of the gods. She was preceded by Envy, a figure with a pallid visage and an emaciated form,...