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PAINTING. UHARACTEIIISTICS OF "GREATNESS OP STYLE" IN PAINTING
| I. Choice Of K"oble Subject.—Greatness of style consists, I then: first, in the habitual choice of subjects of thought which involve wide interests and profound passions, as opposed to those which involve narrow interests and slight passions. The style is greater or less in exact proportion to the nobleness of the interests and passions involved in the subject. The habitual choice of sacred subjects, such as the Nativity, Transfiguration, Crucifixion (if the choice be sincere), implies that the painter has a natural disposition to dwell on the highest thoughts of which humanity is capable; it constitutes him so far forth a painter of the highest order, as, for instance, Leonardo, in his painting of the Last Supper: he who delights in representing the acts or meditations of great men, as, for instance, Raphael painting the School of Athens, is, so far forth, a painter of the second order: he who represents the passions and events of ordinary life, of the third. And in this ordinary life, he who represents deep thoughts and sorrows, as, for instance, Hunt, in his Claudio and Isabella, and such other works, is of the highest rank in his sphere; and he who represents the slight malignities and passions of the drawingroom, as, for instance, Leslie, of the second rank: he who represents the sports of boys or simplicities of clowns, as Webster or Teniers, of the third rank; and he who represents
brutalities and vices (for delight in them, and not for rebuke of them), of no rank at all, or rather of a negative rank, hold ing a certain order in the abyss.
The reader will, I hope, understand how much importance is to be attached to the sentence in the first parenthesis, "if the choice be sincere;" for choice of subject is, of course, only available as a criterion of the rank of the painter, when it is made from the heart. Indeed, in the lower orders of painting, the choice is always made from such heart as the painter has; for his selection of the brawls of peasants or sports ot children can, of course, proceed only from the fact that he has more sympathy with such brawls or pastimes than with nobler subjects. But the choice of the higher kind of subjects is often insincere; and may, therefore, afford no real criterion of the painter's rank.
It must be remembered, that in nearly all the great periods of art the choice of subject has not been left to the painter. His employer,—abbot, baron, or monarch,—determined for him whether he should earn his bread by making cloisters bright with choirs of saints, painting coats of arms on leaves of romances, or decorating presence-chambers with complimentary mythology; and his own personal feelings are ascertainable only by watching, in the themes assigned to him, what are the points in which he seems to take mosi pleasure.
II. Love Of Beauty.—The second characteristic of the great school of art is, that it introduces in the conception of its subject as much beauty as is possible, consistently with truth.*
* As here, for the first time, I am obliged to use the terms Truth and Beauty in a kind of opposition, I must therefore stop for a moment to 8tat9 clearly the relation of these two qualities of art; and to protest against the vulgar and foolish habit of confusing truth and beauty with aach other. People with shallow powers of though*, desiring to flatter thein
y' For instance, in any subject consisting of a number of figures, it will make as many of those figures beautiful as the
selves with the sensation of having attained profundity, are continually d sing
Now, therefore, in things concerning art, the words true and false are onlj to be rightly used, while the picture is considered as a statement of facts. The painter asserts that this which he has painted is the form of a dog, a man, or a tree. If it be not the form of a dog, a man, or a tree, the painter's statement is false; and therefore we justly speak of a false line, or false color; not that any line or color can in themselves be false, but they become so when they convey a statement that they resemble something which they do not resemble. But the beauty of the lines or colors is wholly independent of any such statement They may be beautiful lines, though quite inaccurate, and ugly lines though quite faithful. A picture may be frightfully ugly, which represents with fidelity some base circumstance of daily life; and a painted window may be exquisitely beautiful, which 1 epresents men with eagles' faces, and dogs with blue heads and crimson tails (though by the way, this is not in the strict sense false art, as we shall see hereafter, inasmuch as it means no assertion that men ever had eagles' faces). If this were not so, it would be impossible to sacrifice truth to beauty; for to attain the one would always be to attain the other. But, unfortunately, this sacrifice is exceedingly possible, and it is chiefly this whioi faithful representation of humanity will admit It will not deny the facts of ugliness or decrepitude, or relative inferiority and superiority of feature as necessarily manifested in a crowd, but it will, so far as it is in its power, seek for and dwell upon the fairest forms, and in all things insist on the / beauty that is in them, not on the ugliness. In this respect, 'schools of art become higher in exact proportion to the degree in which they apprehend and love the beautiful. Thus, / Angelico, intensely loving all spiritual beauty, will be of the I highest rank; and Paul Veronese and Correggio, intensely loving physical and corporeal beauty, of the second rank ; and 'Albert Durer, Rubens, and in general the Northern artists apparently insensible to beauty, and caring only for truth, whether shapely or not, of the third rank; and Teniers and Salvator, Caravaggio, and other such worshippers of the depraved, of no rank, or, as we said before, of a certain order in the abyss.
The corruption of the schools of high art, so far as this particular quality is concerned, consists in the sacrifice of ruth to beauty. Threat art dwells on all that is beau aise~art omhs or changes all that is ugly. (^l'eat art accepts/ "ature as she is, but directs the eyes and thoughts to what is most perfect in her; false art saves itself the trouble of direction by removing or altering whatever it thinks objectionable. The evil results of which proceeding are twofold.
First. That beauty deprived of its proper foils and adjuncts
clnracterises the false schools of high art, so far as high art consists in the pursuit of beauty. For although truth and boauty are independent of each ether, it does not follow that we are at liberty to pursue whichever we please. They are indeed separable, but it is wrong to separate them; they are to be sought together in tho order of their worthiness: that is to say, truth first, and beauty afterwards. High art differs from low art in possessing an excess of beauty in addition to its truth, not in possessing an excess of beauty incoc sisteut with truth.J A /A ^» //
ceases to be enjoyed as beauty, just as light deprived of all shadow ceases to be enjoyed as light. A white canvass cannot produce an .effect of sunshine; the painter must darken it in some places before he can make it look luminous in others nor can an unmJextupted_succession ofbeauty produce the tru^efffecToFbeauty; it must be foiled by inferiority before its own power can be developed. Nature has for the most part mingled her inferior and nobler elements as she mingles sunshine with shade, giving due use and influence to both, and the painter who chooses to remove the shadow, perishes iu the burning desert he has created. The truly high and beautiful art of Angelico is continually refreshed and strengthened by his frank portraiture of the most ordinary features of his brother monks, and of the recorded peculiarities of ungainly sanctity; but the modern German and Raphaelesque schools lose all honor and nobleness in barber-like admiration of handsome faces, and have, in fact, no real faith except in straight noses and curled hair. Paul Veronese opposes the dwarf to the soldier, and the negress to the queen; Shakspere places Caliban beside Miranda, and Autolycus beside Perdita; but tha vulgar idealist withdraws his beauty to the safety of the saloon, and his innocence to the seclusion of the cloister; he protends that he does this in delicacy of choice and purity of sentiment, while in truth he has neither courage to front the monster, nor wit enough to furnish the knave.
It is only by the habit of representing faithfully all things,'' that we can truly learn what is beautiful and what is not. The ugliest objects contain some element of beauty; and in all, it is an element peculiar to themselves, which cannot be separated from their ugliness, but must either be enjoyed together with it, or not at all. The more a painter accepts nature as he finds it, the more unexpected beauty he discovers in what he at first despised; but once let him arrogate the