登陆注册
5164000000021

第21章

Thus an habitual practice in the lower exercises of the art will prevent many from attaining the greater.But such of us who move in these humbler walks of the profession are not ignorant that, as the natural dignity of the subject is less, the more all the little ornamental helps are necessary to its embellishment.It would be ridiculous for a painter ofdomestic scenes, of portraits, landscapes, animals, or of still life, to say that he despised those qualities which have made the subordinate schools so famous.The art of colouring, and the skilful management of light and shadow, are essential requisites in his confined labours.If we descend still lower, what is the painter of fruit and flowers without the utmost art in colouring, and what the painters call handling; that is, a lightness of pencil that implies great practice, and gives the appearance of being done with ease? Some here, I believe, must remember a flower-painter whose boast it was that he scorned to paint for the million; no, he professed to paint in the true Italian taste; and despising the crowd, called strenuously upon the few to admire him.His idea of the Italian taste was to paint as black and dirty as he could, and to leave all clearness and brilliancy of colouring to those who were fonder of money than of immortality.The consequence was such as might be expected.For these pretty excellences are here essential beauties; and without this merit the artist's work will be more short-lived than the objects of his imitation.

From what has been advanced, we must now be convinced that there are two distinct styles in history painting: the grand, and the splendid or ornamental.

The great style stands alone, and does not require, perhaps does not so well admit, any addition from inferior beauties.The ornamental style also possesses its own peculiar merit.However, though the union of the two may make a sort of composite style, yet that style is likely to be more imperfect than either of those which go to its composition.Both kinds have merit, and may be excellent though in different ranks, if uniformity be preserved, and the general and particular ideas of nature be not mixed.Even the meanest of them is difficult enough to attain; and the first place being already occupied by the great artists in either department, some of those who followed thought there was less room for them, and feeling the impulse of ambition and the desire of novelty, and being at the same time perhaps willing to take the shortest way, they endeavoured to make for themselves a place between both.This they have effected by forming a union of the different orders.But as the grave and majestic style would suffer by a union with the florid and gay, so also has the Venetianornament in some respect been injured by attempting an alliance with simplicity.

It may be asserted that the great style is always more or less contaminated by any meaner mixture.But it happens in a few instances that the lower may be improved by borrowing from the grand.Thus, if a portrait painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea.He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent, which has annexed to it no ideas of meanness from its being familiar to us.But if an exact resemblance of an individual be considered as the sole object to be aimed at, the portrait painter will be apt to lose more than he gains by the acquired dignity taken from general nature.It is very difficult to ennoble the character of a countenance but at the expense of the likeness, which is what is most generally required by such as sit to the painter.

Of those who have practised the composite style, and have succeeded in this perilous attempt, perhaps the foremost is Correggio.His style is founded upon modern grace and elegance, to which is super, added something of the simplicity of the grand style.A breadth of light and colour, the general ideas of the drapery, an uninterrupted flow of outline, all conspire to this effect.Next him (perhaps equal to him) Parmegiano has dignified the genteelness of modern effeminacy by uniting it with the simplicity of the ancients and the grandeur and severity of Michael Angelo.It must be confessed, however, that these two extraordinary men, by endeavouring to give the utmost degree of grace, have sometimes, perhaps, exceeded its boundaries, and have fallen into the most hateful of all hateful qualities, affectation.Indeed, it is the peculiar characteristic of men of genius to be afraid of coldness and insipidity, from which they think they never can be too far removed.It particularly happens to these great masters of grace and elegance.They often boldly drive on to the very verge of ridicule; the spectator is alarmed, but at the same time admires their vigour and intrepidity.

Strange graces still, and stranger flights they had,...Yet ne'er so sure our passion to create Ae when they touch'd the brink of all we hate.

The errors of genius, however, are pardonable, and none even of the more exalted painters are wholly free from them; but they have taught us, by the rectitude of their general practice, to correct their own affected or accidental deviation.The very first have not been always upon their guard, and perhaps there is not a fault but what may take shelter under the most venerable authorities; yet that style only is perfect in which the noblest principles are uniformly pursued; and those masters only are entitled to the first rank in, our estimation who have enlarged the boundaries of their art, and have raised it to its highest dignity, by exhibiting the general ideas of nature.

On the whole, it seems to me that there is but one presiding principle which regulates and gives stability to every art.The works, whether of poets, painters, moralists, or historians, which are built upon general nature, live for ever; while those which depend for their existence on particular customs and habits, a partial view of nature, or the fluctuation of fashion, can only be coeval with that which first raised them from obscurity.Present time and future maybe considered as rivals, and he who solicits the one must expect to be discountenanced by the other.

同类推荐
  • 华严感应缘起传

    华严感应缘起传

    本书为公版书,为不受著作权法限制的作家、艺术家及其它人士发布的作品,供广大读者阅读交流。汇聚授权电子版权。
  • THE TRAGICAL HISTORY OF DOCTOR FAUSTUS

    THE TRAGICAL HISTORY OF DOCTOR FAUSTUS

    本书为公版书,为不受著作权法限制的作家、艺术家及其它人士发布的作品,供广大读者阅读交流。汇聚授权电子版权。
  • 曹溪大师别传

    曹溪大师别传

    本书为公版书,为不受著作权法限制的作家、艺术家及其它人士发布的作品,供广大读者阅读交流。汇聚授权电子版权。
  • 性情集

    性情集

    本书为公版书,为不受著作权法限制的作家、艺术家及其它人士发布的作品,供广大读者阅读交流。汇聚授权电子版权。
  • 居官日省录

    居官日省录

    本书为公版书,为不受著作权法限制的作家、艺术家及其它人士发布的作品,供广大读者阅读交流。汇聚授权电子版权。
热门推荐
  • 捡来的仙缘

    捡来的仙缘

    当天上有馅饼掉进嘴里时,那是吞不下去,也吐不出来,卡的难受。当天上有金山掉在眼前时,那是既拿不走,也舍不得丢,左右为难。当天上有仙缘砸在头上时,那是既修不了,也甩不得脱,欲死欲仙。何素素由于一时不慎,被树上掉落的叶子砸破了头,之后意外的魂穿到了修真世界。要什么没什么的何素素,为了生存,不得不四处奔波。秉承着“没有无用的垃圾,只有放错的资源”的理念,把别人不要的东西捡起来回收利用:仙缘、功法,我捡、我捡;丹药、法宝、我捡、我捡;道侣、敌人、我……我没看见,谁爱捡谁捡。何素素就靠着这种捡、捡、捡的方式,终于……
  • 黎先生领证吧

    黎先生领证吧

    “不要了,好疼。”她推拒着他,小脸上带着泪。他冷着脸训斥她:“不就贴个创口贴,哭得这么凄惨。”他是传说不近女色,冷酷杀伐果决的帝少。一夜之后,他缠她上瘾,宠她上天。黎少:娶她,宠她,逗她,对着她使坏,是因为爱她。秦芷汐,我爱你,这辈子只爱你。
  • 神道符召

    神道符召

    人道治世,三百年一轮回。龙气镇压统治天下,同时也积压怨气无数。而大虞定鼎天下,却已经有五百年了。 此时,青阳道将起,天下大劫将生! 一个带着六道天经的小小土地,却悄悄出现在凤来山上。立志健全神道,使阴阳各归其所!正是:符召成九品神道吾独尊
  • 天龙策(上)

    天龙策(上)

    公元1600年,努尔哈赤励精图治,欲问鼎中原,为了控制情报系统,命精通汉文的孙女赫梅蓝下嫁都护府总管大明叛将李永芳。孰料赫梅蓝嫁入李府后决死不圆房,却与武长春产生恋情。武长春是李永芳的女婿,明朝锦衣卫安插在后金的高级卧底间谍。李永芳觉察出两人的暧昧关系,想方设法离间二人灭掉武长春。大明国土辽阔人才济济,努尔哈赤和四贝勒皇太极精心制定“天龙策”,旨在离间大明君臣,绝杀大明高级将帅精英人才。武长春冒死盗取“天龙策”,送交大明锦衣卫指挥使田尔耕。但大明高层忙于内斗一盘散沙,阉党魏忠贤与东林党的酸儒们竟然置国家安危于不顾,将极为重要的战略情报“天龙策”抛在一边。
  • 殷小萱大闹三王爷

    殷小萱大闹三王爷

    party过后深睡,不料竟然穿越,不知何年何月何地,既来之则安之,但是宫廷之中满是算计,真的能安么?--情节虚构,请勿模仿
  • 每天一堂销售课

    每天一堂销售课

    从一个刚入行的销售菜鸟到业绩辉煌的顶级销售员,需要多长时间?销售是一个没有硝烟的战场,客户即是敌人又是战友。
  • 荀子:儒学主流的真正塑造者

    荀子:儒学主流的真正塑造者

    在大一统气氛笼罩的时代,荀子才是儒学的主流。中国文化经常和儒家被等同看待。不论称赞还是批判中国文化,很自然都会拿儒家的主张、信念作为代表。更进一步,儒家往往也就和孔孟画上等号。儒家相信什么、主张什么,也就理所当然认为是孔子和孟子所说、所主张的。这种常识态度,在历史上不只不精确,而且带着许多误会。那些想当然对儒家的种种说法,其实里面来自《荀子》的部分可能多过来自《孟子》的。孟子名气大,和孔子并称,荀子的名字往往被湮没在背景里,但若从思想内容及表达形式上来看的话,荀子对于后世建立的儒家传统,影响恐怕大过孟子。
  • 隐花平原

    隐花平原

    落花隐于平原,恶鬼隐于人间。在植物链的底层,有一种名为“隐花植物”的低等植物,它们一生都没有机会在阳光下开出鲜艳的花,只能在黑暗中缠绕爬行,交错形成一朵巨大而盛烈的恶之花……画家、记者、医生、银行会长、警察、陪酒女……分布于社会各个角落、彼此间毫无关联的人们,接二连三在日本各地被离奇杀死。凶手仿佛是谁也看不见的隐身人,隐匿在喧嚣社会的阴暗处,一步一步完成他庞大恐怖的杀戮拼图……悬疑宗师松本清张,从人性黑暗中创造出吃人的怪物,将整个日本社会变成死亡的舞台。
  • 李温陵集

    李温陵集

    本书为公版书,为不受著作权法限制的作家、艺术家及其它人士发布的作品,供广大读者阅读交流。汇聚授权电子版权。
  • 丑颜弃妇闯情关

    丑颜弃妇闯情关

    现代某都市:“林夷如,我喜欢你,我们交往吧。”穿越千年庆云国:“平凡,激不起本王的半点兴趣,”她早就火冒三丈,正想一掌打过去,他靠近她的耳畔说的下一句话让她彻底呆了,“也不看看自己是什么货色,还想用这招;如果是个美人,本王还可以勉强,不过,你让我无比厌恶。”--情节虚构,请勿模仿