 | Sir Joshua Reynolds - 1887 - 332 стор.
...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 background ; 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 - 1887 - 330 стор.
...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 background ; 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... | |
 | John Vanbrugh - 1896 - 532 стор.
...our imagination, with which the artist is more concerned than with absolute truth." To speak of him, "in the language of a painter, he had originality...the back-ground, by which the design and invention arc set off to the greatest advantage. What the back-ground is in painting, in architecture is the... | |
 | Sir Reginald Theodore Blomfield - 1897 - 382 стор.
...referred in his encomium on Vanbrugh. " To support his principal object, he produced his second or third groups or masses, he perfectly understood in...most difficult in ours, the conduct of the background . . . and no architect took greater care than he that his work should not appear crude and hard, that... | |
 | Sir Reginald Theodore Blomfield - 1904 - 402 стор.
...Reynolds referred in his encomium on Vanbrugh. "To support his principal object, he produced his second or third groups or masses, he perfectly understood in...most difficult in ours, the conduct of the background . . . and no architect took greater care than he that his work should not appear crude and hard, that... | |
 | Sir Joshua Reynolds - 1905 - 564 стор.
...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 background ; 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... | |
 | Frederick Moore Simpson - 1911 - 520 стор.
...an architect, there is a greater display of imagination than we shall find perhaps in any other, ... he had originality of invention; he understood light...he produced his second and third groups, or masses. . . . No architect took greater care that his work should not appear crude and hard, that is, that... | |
 | Thomas Campbell - 1918 - 492 стор.
...imagination, with which the artist is more concerned than with absolute truth." To speak of him, " in the language of a painter, he had originality of...skill in composition. To support his principal object, ne produced his second and third groups or masses. He perfectly understood in his art, what is the... | |
 | Charles Whibley - 1919 - 394 стор.
...praise from Sir Joshua Reynolds, who speaking in the language of a painter declared that Vanbrugh ' had originality of invention, he understood light and shadow, and had great skill in composition.' He suffered the fate of the great Perrault, with whom he may fittingly be compared, from the wits of... | |
 | Sir Thomas Graham Jackson - 1922 - 328 стор.
...language of a Painter, he had °irVan-S originality of invention, he understood light and shadow, brugh and had great skill in composition. To support his...he produced his second and third groups or masses ...... and no architect took greater care that his work should not appear crude and hard. That is,... | |
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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. 
