 | Ralph Griffiths, George Edward Griffiths - 1772 - 628 páginas
...borrowing from the grand. Thus, if a portrait painter is defirous to raife and improve his fubject, he has no other means than by approaching it to a...in the face, and changes the drefs from a temporary faftiion to one more permanent, which has annexed to it no ideas of meannefs from its being familiar... | |
 | R. Griffiths - 1772 - 632 páginas
...portrait painter is defirous to raifc and improve his fubje¿>, he has no other means than by ;;pproaching it to a general idea ; he leaves out all the minute...and peculiarities in the face, and changes the drefs front »temporary fjfhion to one more permanent, which has annexed to it- 'no ideas of meannefe from... | |
 | Sir Joshua Reynolds - 1778 - 346 páginas
...the grand. Thus if a portrait painter is defirous C 143 ] firous to raife and improve his fubject, he has no other means than by approaching it to a...in the face, and changes the drefs from a temporary fafhion to one more permanent, which has annexed to ,it no ideas of meannefs from its being familiar... | |
 | Sir Joshua Reynolds - 1778 - 360 páginas
...'"mi grand. Thus if a portrait painter is:'dcfirous [ 143 3 firous to raife and improve his fubjeft, he has no other means than by approaching it to a...peculiarities in the face, and changes the drefs from i temporary fafhion to one more permanent, which has annexed to it no ideas of meannefs from its being... | |
 | Sir Joshua Reynolds, Edmond Malone - 1801 - 440 páginas
...borrowing from the grand. Thus if .a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a...breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent. which has annexed to it no ideas of meanness... | |
 | Hewson Clarke, John Dougall - 1817 - 902 páginas
...borrowing from the superior. Thus, if a portrait painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He must leave out all the minute peculiarities of the countenance, and instead of я modern temporary... | |
 | Sir Joshua Reynolds, Edmond Malone - 1819 - 614 páginas
...borrowing from the grand. Thus if a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a...breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent, which has annexed to it no ideas of meanness... | |
 | Sir Joshua Reynolds - 1819 - 610 páginas
...borrowing from the grand. Thus if a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a...breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent, which has annexed to. it no ideas of meanness... | |
 | Sir Joshua Reynolds - 1824 - 332 páginas
...borrowing, from the grand. Thus if a portrait painter is desirous to raise and improve his subject, he has no other means than by approaching it to a...breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent, which has annexed to it no ideas of meanness... | |
 | Hewson Clarke, John Dougall - 1825 - 892 páginas
...borrowing from the superior. Thus, if a portrait painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He must leave out all the minute peculiarities of the countenance, and instead of a modern tem. porary... | |
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Thus if .a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion... 
