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

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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 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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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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The excellence of every art, must consist in the complete accomplishment of its purpose
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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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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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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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You are never to lose sight of nature the instant you do, you are all abroad, at the mercy of every gust of fashion, without knowing or seeing the point to which you ought to steer.
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A passion for his art, and an eager desire to excel, will more than supply an artist with the place of method.
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Certainly, nothing can be more simple than monotony.
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Art in its perfection is not ostentatious it lies hid and works its effect, itself unseen.
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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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Simplicity is an exact mediumbetween too little and too much.
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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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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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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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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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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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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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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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