Welcomed for its revolutionary ideas, particularly its attack on the theory of generalization outlined in Reynolds's Discourses (1769-90) (see here), Modern Painters I is seen by the critic of the Prospective Review as inaugurating a more thoughtful style of art-criticism (see here). An assessment of the importance of criticism and a profile of the ideal critic (see here), (see here) serves to underline the shortcomings of the Discourses. The three passages quoted - on ideal landscape (see here), on Claude's 'Il Mulino' (see here) and the author's justification for the work (see here), serve to illustrate the reviewer's sympathy with the work.