seven discourses on art(艺术七讲座)-第11章
按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
probably； little or nothing to unlearn； as their manners were nearly
approaching to this desirable simplicity； while the modern artist； before he
can see the truth of things； is obliged to remove a veil； with which the
fashion of the times has thought proper to cover her。
Having gone thus far in our investigation of the great style in painting；
32
… Page 33…
SEVEN DISCOURSES ON ART
if we now should suppose that the artist has formed the true idea of beauty；
which enables him to give his works a correct and perfect design； if we
should suppose also that he has acquired a knowledge of the unadulterated
habits of nature； which gives him simplicity； the rest of his talk is； perhaps；
less than is generally imagined。 Beauty and simplicity have so great a
share in the composition of a great style； that he who has acquired them
has little else to learn。 It must not； indeed； be forgot that there is a
nobleness of conception； which goes beyond anything in the mere
exhibition； even of perfect form； there is an art of animating and
dignifying the figures with intellectual grandeur； of impressing the
appearance of philosophic wisdom or heroic virtue。 This can only be
acquired by him that enlarges the sphere of his understanding by a variety
of knowledge； and warms his imagination with the best productions of
ancient and modern poetry。
A hand thus exercised； and a mind thus instructed； will bring the art to
a higher degree of excellence than； perhaps； it has hitherto attained in this
country。 Such a student will disdain the humbler walks of painting；
which； however profitable； can never assure him a permanent reputation。
He will leave the meaner artist servilely to suppose that those are the best
pictures which are most likely to deceive the spectator。 He will permit
the lower painter； like the florist or collector of shells； to exhibit the
minute discriminations which distinguish one object of the same species
from another； while he； like the philosopher； will consider nature in the
abstract； and represent in every one of his figures the character of its
species。
If deceiving the eye were the only business of the art； there is no doubt；
indeed； but the minute painter would be more apt to succeed： but it is not
the eye； it is the mind； which the painter of genius desires to address； nor
will he waste a moment upon these smaller objects； which only serve to
catch the sense； to divide the attention； and to counteract his great design
of speaking to the heart。
This is the ambition I could wish to excite in your minds； and the
object I have had in my view； throughout this discourse； is that one great
idea which gives to painting its true dignity； that entitles it to the name of a
33
… Page 34…
SEVEN DISCOURSES ON ART
Liberal Art； and ranks it as a sister of poetry。
It may possibly have happened to many young students whose
application was sufficient to overcome all difficulties； and whose minds
were capable of embracing the most extensive views； that they have； by a
wrong direction originally given； spent their lives in the meaner walks of
painting； without ever knowing there was a nobler to pursue。 〃Albert
Durer；〃 as Vasari has justly remarked； 〃would probably have been one of
the first painters of his age （and he lived in an era of great artists） had he
been initiated into those great principles of the art which were so well
understood and practised by his contemporaries in Italy。 But unluckily；
having never seen or heard of any other manner； he considered his own；
without doubt； as perfect。〃
As for the various departments of painting； which do not presume to
make such high pretensions； they are many。 None of them are without
their merit； though none enter into competition with this great universal
presiding idea of the art。 The painters who have applied themselves
more particularly to low and vulgar characters； and who express with
precision the various shades of passion； as they are exhibited by vulgar
minds （such as we see in the works of Hogarth） deserve great praise； but
as their genius has been employed on low and confined subjects； the praise
that we give must be as limited as its object。 The merrymaking or
quarrelling of the Boors of Teniers； the same sort of productions of
Brouwer； or Ostade； are excellent in their kind； and the excellence and its
praise will be in proportion； as； in those limited subjects and peculiar
forms； they introduce more or less of the expression of those passions； as
they appear in general and more enlarged nature。 This principle may be
applied to the battle pieces of Bourgognone； the French gallantries of
Watteau； and even beyond the exhibition of animal life； to the landscapes
of Claude Lorraine； and the sea… views of Vandervelde。 All these painters
have； in general； the same right； in different degrees； to the name of a
painter； which a satirist； an epigrammatist； a sonnetteer； a writer of
pastorals； or descriptive poetry； has to that of a poet。
In the same rank； and； perhaps； of not so great merit； is the cold painter
of portraits。 But his correct and just imitation of his object has its merit。
34
… Page 35…
SEVEN DISCOURSES ON ART
Even the painter of still life； whose highest ambition is to give a minute
representation of every part of those low objects； which he sets before him；
deserves praise in proportion to his attainment； because no part of this
excellent art； so much the ornament of polished life； is destitute of value
and use。 These； however； are by no means the views to which the mind
of the student ought to be PRIMARILY directed。 By aiming at better
things； if from particular inclination； or from the taste of the time and
place he lives in； or from necessity； or from failure in the highest attempts；
he is obliged to descend lower； he will bring into the lower sphere of art a
grandeur of composition and character that will raise and ennoble his
works far above their natural rank。
A man is not weak； though he may not be able to wield the club of
Hercules； nor does a man always practise that which he esteems the beat；
but does that which he can best do。 In moderate attempts； there are many
walks open to the artist。 But as the idea of beauty is of necessity but one；
so there can be but one great mode of painting； the leading principle of
which I have endeavoured to explain。
I should be sorry if what is here recommended should be at all
understood to countenance a careless or indetermined manner of painting。
For though the painter is to overlook the accidental discriminations of
nature； he is to pronoun
