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
Notes
Marked
Move
Intended
Style
Strongly
Passion
Note
Imperceptibly
Moving
Passions
Transitions
Another
Sudden
Softer
Music
Transition
Melt
Requires
Martial

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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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Style in painting is the same as in writing a power over materials, whether words or colors, by which conceptions or sentiments are conveyed.
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It is impossible that anything will be well understood or well done that is taken into a reluctant understanding, and executed with a servile hand.
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Gardening as far as Gardening is Art, or entitled to that appellation, is a deviation from nature for if the true taste consists, as many hold, in banishing every appearance of Art, or any traces of the footsteps of man, it would then be no longer a Garden.
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It is vain for painters... to endeavour to invent without materials on which the mind may work.
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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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The excellence of every art, must consist in the complete accomplishment of its purpose
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The mind is but a barren soil a soil which is soon exhausted, and will produce no crop, or only one, unless it be continually fertilized and enriched with foreign matter.
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Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe.
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A painter must not only be of necessity an imitator of the works of nature... but he must be as necessarily an imitator of the works of other painters. This appears more humiliating, but is equally true and no man can be an artist, whatever he may suppose, upon any other terms.
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The distinct blue, red, and yellow colors... though they have not the kind of harmony which is produced by a variety of broken and transparent colors, have the effect of grandeur.
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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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There is no expedient to which a man will not resort to avoid the real labor of thinking.
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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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Whatever trips you make, you must still have nature in your eye.
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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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A painter must compensate the natural deficiencies of his art. He has but one sentence to utter, but one moment to exhibit. He cannot, like the poet or historian, expatiate, and impress the mind.
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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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Though colour may appear at first a part of painting merely mechanical, yet it still has its rules, and those grounded upon that presiding principle which regulates both the great and the little in the study of a painter.
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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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