Essays on the picturesque, as compared with the sublime and by Uvedale Price

By Uvedale Price

Annoyed through what he observed because the over-grooming commonly used in British panorama gardening and linked to the paintings of strength Brown, Uvedale cost (1747-1829) released this essay in 1794. He emphasises the following the significance of naturalism and concord with the encompassing setting. offering examples of the way sure beneficial properties in a backyard might be greater via adherence to picturesque rules, cost seeks to use the teachings of panorama portray to the perform of panorama gardening. He additionally stresses the significance of taking note of altering gentle and the impression of shadow. The essay seemed within the related 12 months as 'The Landscape', a didactic poem by way of Richard Payne Knight (1751-1824), which was once addressed to cost and is incorporated on the finish of this reissue. Price's Letter to H. Repton, Esq., a complement to his essay, is reissued individually during this sequence in its 1798 version.

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The character of a meadow or la,wn. is destroyed, yet that of a lake or river is not obtained : for nothing can. more completely separate and disunite the^ two parts of a meadow, than a naked glaring piece of water; and nothing can be less like a beautiful river or lake, than such apprehended imitation. * Very few great self-taught mnsters have ever existed; none, perhaps, strictly speaking. Mr. Brown certainly is in no sense of that number; and to hear the same title given to him as to Shakespear, or Salvator Rosa, would raise our indignation, if the extreme ridicule did not give another turn to our feelings.

The great difference between them is, that the former never proposed any of their works as landscapes; whereas the latter, with almost as little pretension, have proposed their9s, not merely as landscapes, but as landscapes of a more refined and exquisite kind, than those which nature, or the best of her imitators had produced. It may be objected to the style I have recommended, that from the awkward attempts at picturesque effect, such fantastic works would often be produced as might force us to regret even the present monotony.

These most unsavoury materials the painter had worked up with so much skill, that the picture was viewed by every one with delight. Imagine all this in marble ever so skilfully executed, it would be detestable. This certainly does tend to prove, that sculpture cannot represent with effect, objects merely picturesque. I do not mean to say, that the grave dignity of that noble art does not admit of a mixture of the picturesque; it is clear, however, that the ancients admitted it with a caution bordering upon timidity.

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