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I Jfarffirinr. I
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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THE ISSUE OUT OF PB ^ . RAPHAELISM . I . ^ A . " *! " ? . *™ ' . PP » 8 » real M * the I tftat
is fasten J " . C C "> WMe y ° ur «««»« on H is lantened on the persons and object immediately I rr « ol 1 * * %° bjeCtS ~ * Th e nJ I 7 nd The" ? ' « " * * otte " - < ° r « " «» you are
I ^ -i " rnrte : rsi : I means bv which h * nf * . >;„ . ., „ :. _ ~ , . . 1 S one or
, I » ni , vKo , C . i , " ^ su | oject ; such I unity ban * the exact correlative of the all-possess- I I ing power of the same subject over the soul when evenf * T * * „ *• mind * sh * P * of a rea " ™ ryV co ^ ^^^
1 o f Lrt tn eIy expiained ^ -4 s ; fiL irV arran ^ eraent P leasing . In the ,
SpSS SSKwgSSSS
stretching away of the Zrf 3 V ° " * idIe of ^ self fuffic ^ Vrt off t h 1 a ^ rV WhiCh W ° of exploring excursion Tn £ attentlon on * sort the painter does bufnN In * " '"P" * ' therefore , the force of J 8 p ecta ^ ° " dlCtatl ° ofn * ture , . W .. <• - . P ecta t ° r s own attention nn ^« n .
AtsaF SrrSKt ,
¦ ne means bv which ;„ „ » none oi events ^ J ^ strt " t ^ T ? ' «*» » ff-t
SSSrSrSSSS fli Rht of the dove and i ? , r , * ' ° * ^^ meaning of that Return "V ^ vvlth «« the I .. K . lIiax return , and retnin ?!<> r _ ., unaltered
, , contour wh ;» i , p « necuy dressed in green Id T" Ob 8 erVe in the & * would have 1 Lin , ° ' mcan th * t her cheeks I 1- u ^^ t' ^^ hungar , £ ** H .-n * ht hl'lb i twl ^^ V » *> H
" ' «<> mean , that no one conM y CW , re 8 ult ' the awful event nr ™ » e Co » ld have undergone I without having Ule couXaCted 8 Grie 8 of e ^ nt «! expression thai , nu « t llave " ^ ? *? ? " bab | tual J ?« -aver ~ I do not say letf nl , 'I ? - COnto ur been am ^ ~ » i . _ . y IC 8 S P' «*< - 'id . () r if th ^ n . u ~ . i in
one 8 O uSfp ; ^ nner " ^ the «* •»? I ?«*> an unfit ins rumen f * ^ ° " W l ' " Painter . "inent ioi the purpose of the I ad ! L * r . Want ( jf fitncas condemn . « . „ ^ -...... 8 tume
wifh . 1 uc co « tume ih trivial- IX U ' i ^ uiniua « ., ni ™ J ««" » n'ntian ' 8 nicfcu ,-,
Ier ocioll 8 and ¦ criiVl uy . evcomi » S Lncrptm with a Sf !"* l ^ he ftct'TC" ' , '"^ mJnd iH «« ie X * / " an ' 8 oWn t - " ! "t 1 »« wears the draw of i ei in
. - « uu , cruel und 'I' ,-. " " » re me * « i « nothing ' in " , *^» " » -like every trait ; at ?" 8 / 840 ' ' & > Invent S ? . , ° r lhe ^ "orieH I a <> ftt lniit that tl , « i # i , thc ( lraina before me I i
' - '" « u , anu qmto conwutent
with Itself . But , apart from a ' rcteoio (! T or chm 1
migh , Thru ^ be ^ ; ou e ^ ifTpi ^ V ' attention , diverts the nLd from absorpS in tl SSS ^^ 3 ^ 1 ? s ! SSS wandering to consider whether th ^ « f . ! Sri . ° mai
ntained that fashion in the vovage of the * T whether they could have " o-ot un " thJ ; Z the * T ' ' and ironingin such very conTple ? e styL S VnAu ^ IdSaSjSSL-Baati
'Sig S ^ g ° t 0 make
the whole-the folia ^ ^ K f UP I outline , the confusedUniUvlJ *^ ' - distin <* , earth , stalks , andleaves ^ h ° meratlon <* grass , ground in woody spotc SMII * K c"mpose the the spectator ' s point of v ; f he mere fact that togivethatunit ^ n Lll ^" "" 1 ^ contributes
thus doing to Art on Tn * Te menvioJate ' form for it the Lf J ^ Ys whlle theY Perdead , clayVo ^ de ^^^ Tnic 1 ^ I ! conventional << efTeZ » % pishness of no spot will you . « S J stance , in bushes recedinTw , " l ° , ^ « r green
uniform in smdatinnnf *\ me dIstance , 8 O by the interS . " r L 5 ' ° ° Hy unaffected Woodman ' s Daughter r /^ ^ ' in MiIIais ^ . studies , and thfylh 3 ? , P arate P arts jointed , unrelated toefch P ? rp J hut A ^ ey are distrees have trunks so S i ^ , ^ nd no livin ^ Valentine , the direct simnH ^ ?* $ ** ' ln the I Av ^ . n ii j . .-. u " cct Simp licitv of tUo «* : _ - 1 1
„ V" CUI < » tne meanness nf ^ V ^ " S l ^ hS&fr ^^ V ~ SV'r nr
an aetres , m ghT doTS ^/ 'T "' ' ' ¦ not as herself vvouJd have do ™ ) m ^ ge i \ as % ' ™ fe-raii ^^ sS ^^^ ss ^ , that you shoufr ^ b ^ L ^ ;^ d ' -W 1 pu ;
pi- ^ o ^ rwo ^^ i ^ ^^ manner in ^ h ^ " { f ^ h . ' . object . And ' the stands out against the L u ' OV ; er the hr ™ , I inexplicable J&hUoofes as ^ " ^ V with some competent to handlehi 8 m ! - , / rtl 8 t » " « not surface of hair , « pX ^ S J" ^* ' * f -the receding ll
; C ' ^^ ™ ° ^ ^ o / dTlfght S' ^ ^« 2 Se ^ in I to the admiration whSh 1 i ' l '"^ T ^ a 8 cri »» We I ?_ _ . what . » . ^ common ^^/'"^^ . ^ st feel iiesiness
" of the nhi Ff r ' canea the " ear-Qf to feelingw , ^/ fi ^ f—the evidence manner at the simnl ^ - m aun ln a direct 1 feeling . Am , ££ *^ £ ST r * nobfeS trasted with the oppoSte 1 " , ordln ' ^ y contamed its m « # o ,: » i J ^ Slte one . when Art lir ., 7 ...
^ easier to ^ I ^ ES ^ V I ^^ " ^ found accessories and still ' li ft ? H ^ delaiI « 1 painting of , 1 raymg the 8 ouJ - jQ ' ^ to equal him in porb WJtten J !„ t ' ^ . ^ was that earnestness rated under the low flJiu " ' : _^ rt havu > K
deirenemanufacture , Cimabue and hi « T 1 ? ° mere ' " [ for themselves the idea of ,, ! ' T ™ 8 tn ' » t Portrayal of real emo ion L " " ' f ° tll < 5 I were enabled to do «« £ llVln ^» act " > n . T | lev of Nature tauoh , \ t 11 " P «> Portion as the HJ . 2
ffead patterns , the fo j / 7 e 8 ™ I * from the meatmg the movements of , " CXtmct art - h Y Ue-I ; . - « ut it must al vav / ° COUnt « " » "c / and 'heir po ,,, t of depart e ^ l , ? " " «» ' > ered that 1 Jio quaintneHs , the mea , ^ . J ? . < " ™ ek Art .
«* tre . n , tic 8-Puc ]« were the T * tIle feut ' » eH an ' generate Art , Ltt ^^ *™*^ <* that r ^ t-
f ^^ S SSS
tf v"iUUy knowJed go WW 8
an aliment and nnf " ~ — Udeal from the prison nf den ~ " f eIeased the the divine fervour of Phi ; ? ge 3 j lnspired it with mated it vvith the r la C n h t f ' / eligion , and aniand picturesque period . I ? K ° J stirrin « travellers who are descending B *™ n ? . ™ that «} the heat , while those 11 * _ ° untai » luxuriate
nipped with cold : approach thp as cending are opposite directions , and ? he fituJ " Stage from proportionateI varied : the eEEJT u Sha 11 be admire in Giotto .-that jKnharf w" Thich we [ whose great soul we see ^ £ uSnn \ h ti me ' of death , the miserable SSS ^ Kfe !! ' P
i ? s BBrtrB-4 aK 5 e m " Takes paina ;„ .. . ^ Pr ° Ve a weak" ^ in the reins . " ™ & ^\ : t ? Z ™ « & ™ MieheWelo
and Agasias , to go back to f * ? / T Ot hidias Ifiirair SH ^^^ « ent . Su ,: h is d ^ . S . W . en *
hral-, most powerfu l of these W % , CVJty ; and the men appears to be c ? mpd ? e ^ ^ 7 ° * Rentle " own genius to break throuaJfhU 7 f ° - Ce of his countenance of the girS ^ fh ma " nensm - The spiration of beautv ten / Sr ff d ° 1 S an in - ness-an earnS ^ fe ?''/ «
rnestto depart from the dry hard W the painter school , and to luxuriate £ , 5 , eJune raan » er of his tints and soft trS ™^?^ ° ™> ^ ting r ^^ n tte ^ o ^' ^ ' - ^ ^ the complex w ™ we ^ EaT " " 7 nded ' » I same pencil . The gid i ^ ^ ^* J *« {? -. the is
oue not enouah wnm ™ , u "vou « « manana . the room in wfifch ^ h p 2 ¦ Wearirjess and waiting . ^ enoughff : a e nfi " ? ; COmfo ? t ! the current tale thaftK' > * whlch cori ° borate illustrate the lines , but P that " M not P ainted ^ suggested by the poet on Z u ( luotatl ° n was fitmre is th J Jl , ° , seeinS the picture . r IM 1 P
a fine girl , '" h ^ da ' on ? 'CZT fo ? ^ ^ Vdvet ' traits of strong aensit vSs 7 ii P ^ asure , with the at some piece of tanesfrv . 3 S been work ' ™ Z ' lowers , and like them vf -i - tatln " fo ] i ^ » -3 been sitting , with hSjeft ^ ZJ * ?™ ' °¥ }^
a painted windoiv m ; , ' i" """"*/ M « you , before indicate the deadnes ? « f / r " * abQUt the «» m and , with her Ss I ? , ^ UIet ; sIle has risen , I h , ad thrown dighSy sifc , T" f . loins - -elf by a backward Vend f ' tin th < 1 reheVln * liCl " of the stooping posture ^ ng weariness The two tracco /^ r < i- _ i »
in this picture are , the Wh ' ° ! l I » "wity tints , and the harshWa > o th ? r ? V SOlne of the mthe embroidery the t ^ t , ! * - Ks P ^ y «^« of a surface ^ presented t ^ ^ in Inos * acute angle , the colours ^ d V 811 - ' Ut a Vei ^ the hght reflect ail fr 1 ? i . be mor < i subdued bv UIl
surface . The elbows Um , wn 17 . nnes « e » of the gest the idea of a Z s ! "* UtlKle 8 ' ^ - which the figured 8 ^^ ; t ; » the view ' from extreme * angularit y . ' / e , aS . ° actlon in h « harsh , because graCe i nf" "" ' ? ' P f *™ to be intn m ., - K « LC m Other 8 ll :. i _ . W , _ .. .
—v ~ '" uuiicfisin ! " ^«* ioiiuo «{ ¦ But the drawing of tho fi expression of phy ^ Seafc " '" ^^ TI ) fi there „ a great cleal , ^ " 2 IS . CoinI > letc . And than mere phyfiicul ^ \^* # ^ m thc faco are < ivpr / . f , f .. -, i ^ ""Utss . lheir * i n i i r .,.. <
: W workpd out by the mos / I 1 i "" llle < J < J « tion eheek and lip ^ of ^ ^ « f « . n « deJIing of , „„ [ muscle which Huno . nu s tlT ^ . ' ^ . ° ri «»»« r to violate the most perfc-rf « ^" - herc ls "" thing f
; , " *•«• ' « ' cauoration « ,, if ,. _ i- " ¦ ' < UI ( I y ( t " »« the school . Mr . Milla t ' ? thti » ' »» " ^ <> f escaping from that school t P I * " exain P <> [' will be followed by „ " '' ., , ! lch we hop ,, l , faculties of express i on Ih-S ol f cllowa . who \ hoW ' followiiur 1 . ; ... ' .. i . OI . . llMt ° "Kht to fit . fl , < .,.. p ....
1 ° « r greatest doubt forTlJ '" ^ 1 Ill ° ' art remains , in thii ^ J ^««»««»« « f any sc hoo / of and mechan ized as tl . ? ; ' ! No < "' y ; « ub < I .. ((/ th « play « f a ; 1 ' " " ' . "/ . ' a / Fords liUio Hn ,. Mf ior
i ' ttle for the obsen » . " T' , "" |» r » i' » rti » iiat «/ y the artiste ed , c . t on \ V ° » " Ilte > - llll / f ' ^ « n « l action of ] A llUI " ' >
SHSgSaSS £
Untitled Article
Aug . 0 , 1851 . ]
& 8 * it ^ a&rn
¦ i ¦ ? 59
Untitled Article
m ^ " ^ SeSSS ^ egiSSST theB ~»«^ ibr
I Jfarffirinr. I
I Jfarffirinr . I
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Citation
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Leader (1850-1860), Aug. 9, 1851, page 759, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1895/page/19/
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