
audiobook
by Henry Fuseli
LECTURES ON PAINTING.
INTRODUCTION.
ERRATA.
FIRST LECTURE. ANCIENT ART.
SECOND LECTURE. ART OF THE MODERNS.
THIRD LECTURE. INVENTION. PART I.
FOURTH LECTURE. INVENTION. PART II.
FIFTH LECTURE. COMPOSITION, EXPRESSION.
SIXTH LECTURE. CHIAROSCURO.
These lectures, originally presented to the Royal Academy, offer a concise yet thorough overview of painting's technical foundations and its historical development. The speaker frames the material as a sketch of the great traditions, guiding listeners from the Renaissance masters to contemporary practice. Listeners will appreciate the clear aim of helping students locate the sources behind each principle.
Drawing on the writings of Leonardo, Dürer, and later commentators, the talks weave together elementary technique with critical historical insight. References to ancient authors such as Pausanias, Quintilian and Pliny illustrate how ideas of style and expression have evolved over centuries. The added observations and notes bring a modern perspective, highlighting where long‑standing theories succeed or fall short.
Designed for both the diligent student and the curious art lover, the series balances scholarly depth with practical guidance. Listeners are invited to compare the lecturer’s own conclusions with those of the great masters, forming their own judgments about what constitutes sound artistic doctrine. The result is an engaging journey through the lineage of painting, enriching any listener’s appreciation of visual art.
Language
en
Duration
~5 hours (299K characters)
Publisher of text edition
Project Gutenberg
Original publisher
United Kingdom: T. Cadell and W. Davies, 1820.
Credits
Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
Release date
2023-07-09
Rights
Public domain in the USA.

1741–1825
Known for eerie, dreamlike scenes and a taste for the dramatic, this Swiss-born artist became one of the most distinctive imaginations of the Romantic era in Britain. His paintings often draw on Shakespeare, Milton, and classical myth, with "The Nightmare" remaining his best-known work.
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