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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
As well as being the most distinguished painter of his generation,
Sir Joshua Reynolds (1723 92) was also the author of several works
of art criticism and guides for artists, some of which originated
as lectures delivered to the students of the Royal Academy by him
as their founding president. This work, first published in 1778,
collects six of the addresses given to the Academy on 'Prize Day',
between 1769 and 1776, prefaced with the first address by Reynolds
to his fellow artists of the newly founded institution in 1769.
Each discourse was later printed and distributed to those present
at Reynolds' expense. They present his views of the purpose of art,
and in particular the necessity of intellectual dignity in what he
calls the 'great style' of the Florentine Renaissance masters. The
discourses also demonstrate his wide reading among the aesthetic
theorists of his own and earlier ages."
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