Quote

Martial music has sudden and strongly marked transitions from one note to another which that style of music requires while in that which is intended to move the softer passions, the notes imperceptibly melt into one another.

Joshua Reynolds

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Joshua Reynolds
Age: 69 †
Born: 1723
Born: January 1
Died: 1792
Died: January 1
Painter
Plympton St Mary
Sir Joshua Reynolds
Sir Joshua Reynold
Sir Joshua Raynolds
Sir Reynolds
Sir Joshua Reynolds RA
Joshua Reynolds Sir
J.
Sir Reynolds
Joshua
Sir Reynolds
Joshua Reynolds (Sir)
sir j. reynolds
S. J. Reynolds
Sir J. Reynods
j. reynolds
Sir J. Reynold
Sir J. Reynoulds
S.J. Reynolds
Sir Jos Reynolds
[Sir Joshua Reynolds]
Mr. Reynolds
Music
Transition
Melt
Requires
Martial
Notes
Marked
Move
Intended
Style
Strongly
Passion
Note
Imperceptibly
Moving
Passions
Transitions
Another
Sudden
Softer

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The painter of genius will not waste a moment upon those smaller objects which only serve to catch the sense, to divide the attention, and to counteract his great design of speaking to the heart.
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The great end of all arts is to make an impression on the imagination and the feeling. The imitation of nature frequently does this. Sometimes it fails and something else succeeds.
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Let me recommend to you not to have too great dependence on your practice or memory, however strong those impressions may have been which are there deposited. They are forever wearing out, and will be at least obliterated, unless they are continually refreshed and repaired.
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Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.
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Nothing is denied to well-directed labor.
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The real character of a man is found out by his amusements.
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And he who does not know himself does not know others, so it may be said with equal truth, that he who does not know others knows himself but very imperfectly.
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Excellence is never granted to man but as the reward of labor. It argues no small strength of mind to persevere in habits of industry without the pleasure of perceiving those advances, which, like the hand of a clock, whilst they make hourly approaches to their point, yet proceed so slowly as to escape observation.
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He who resolves never to ransack any mind but his own, will be soon reduced, from mere barrenness, to the poorest of all imitations he will be obliged to imitate himself, and to repeat what he has before often repeated.
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By close inspection... you will discover the manner of handling the artifices of contrast, glazing, and other expedients, by which good colorists have raised the value of their tints, and by which nature has been so happily imitated.
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It is but a poor eloquence which only shows that the orator can talk.
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While I recommend studying the art from artists, Nature is and must be the fountain which alone is inexhaustible, and from which all excellences must originally flow.
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The art of seeing nature, or, in other words, the art of using models, is in reality the great object, the point to which all our studies are directed.
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From a slight, undetermined drawing, where the ideas of the composition and character are just touched upon, the imagination supplies more than the painter himself, probably, could produce. And we accordingly often find that the finished work disappoints the expectation that was raised from the sketch.
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A mere copier of nature can never produce any thing great, can never raise and enlarge the conceptions, or warm the heart of the spectator.
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Few have been taught to any purpose who have not been their own teachers.
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The great use of copying, if it be at all useful, should seem to be in learning color yet even coloring will never be perfectly attained by servilely copying the model before you.
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The spectator, as he walks the gallery, will stop, or pass along. To give a general air of grandeur at first view, all trifling, or artful play of little lights, or an attention to a variety of tints is to be avoided a quietness and simplicity must reign over the whole work, to which a breadth of uniform and simple color will very much contribute.
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Genius is supposed to be a power of producing excellences which are put of the reach of the rules of art: a power which no precepts can teach, and which no industry can acquire.
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Reform is a work of time a national taste, however wrong it may be, cannot be totally changed at once.
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