seven discourses on art(艺术七讲座)-第21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！
one much softer and richer； where there is a greater union between the
figures and the ground； such as the 〃Seven Sacraments〃 in the Duke of
Orleans' collection； but neither these； nor any in this manner； are at all
comparable to many in his dry manner which we have in England。
The favourite subjects of Poussin were ancient fables； and no painter
was ever better qualified to paint such subjects； not only from his being
eminently skilled in the knowledge of ceremonies； customs； and habits of
the ancients； but from his being so well acquainted with the different
characters which those who invented them gave their allegorical figures。
Though Rubens has shown great fancy in his Satyrs； Silenuses； and Fauns；
yet they are not that distinct separate class of beings which is carefully
61
… Page 62…
SEVEN DISCOURSES ON ART
exhibited by the ancients and by Poussin。 Certainly when such subjects
of antiquity are represented； nothing in the picture ought to remind us of
modern times。 The mind is thrown back into antiquity； and nothing
ought to be introduced that may tend to awaken it from the illusion。
Poussin seemed to think that the style and the language in which such
stories are told is not the worse for preserving some relish of the old way
of painting which seemed to give a general uniformity to the whole； so
that the mind was thrown back into antiquity not only by the subject； but
the execution。
If Poussin； in imitation of the ancients； represents Apollo driving his
chariot out of the sea by way of representing the sun rising； if he
personifies lakes and rivers； it is no ways offensive in him； but seems
perfectly of a piece with the general air of the picture。 On the contrary； if
the figures which people his pictures had a modern air or countenance； if
they appeared like our countrymen； if the draperies were like cloth or silk
of our manufacture； if the landscape had the appearance of a modern view；
how ridiculous would Apollo appear instead of the sun； an old man or a
nymph with an urn instead of a river or lake。
I cannot avoid mentioning here a circumstance in portrait painting
which may help to confirm what has been said。
When a portrait is painted in the historical style； as it is neither an
exact minute representation of an individual nor completely ideal； every
circumstance ought to correspond to this mixture。 The simplicity of the
antique air and attitude； however much to be admired； is ridiculous when
joined to a figure in a modern dress。 It is not to my purpose to enter into
the question at present； whether this mixed style ought to be adopted or
not； yet if it is chosen it is necessary it should be complete and all of a
piece： the difference of stuffs； for instance； which make the clothing；
should be distinguished in the same degree as the head deviates from a
general idea。
Without this union； which I have so often recommended； a work can
have no marked and determined character； which is the peculiar and
constant evidence of genius。 But when this is accomplished to a high
degree； it becomes in some sort a rival to that style which we have fixed as
62
… Page 63…
SEVEN DISCOURSES ON ART
the highest。
Thus I have given a sketch of the characters of Rubens and Salvator
Rosa； as they appear to me to have the greatest uniformity of mind
throughout their whole work。 But we may add to these； all these artists
who are at the head of the class； and have had a school of imitators from
Michael Angelo down to Watteau。 Upon the whole it appears that setting
aside the ornamental style； there are two different paths； either of which a
student may take without degrading the dignity of his art。 The first is to
combine the higher excellences and embellish them to the greatest
advantage。 The other is to carry one of these excellences to the highest
degree。 But those who possess neither must be classed with them； who；
as Shakespeare says； are men of no mark or likelihood。
I inculcate as frequently as I can your forming yourselves upon great
principles and great models。 Your time will be much misspent in every
other pursuit。 Small excellences should be viewed； not studied； they
ought to be viewed； because nothing ought to escape a painter's
observation； but for no other reason。
There is another caution which I wish to give you。 Be as select in
those whom you endeavour to please； as in those whom you endeavour to
imitate。 Without the love of fame you can never do anything excellent；
but by an excessive and undistinguishing thirst after it； you will come to
have vulgar views； you will degrade your style； and your taste will be
entirely corrupted。 It is certain that the lowest style will be the most
popular； as it falls within the compass of ignorance itself； and the vulgar
will always be pleased with what is natural in the confined and
misunderstood sense of the word。
One would wish that such depravation of taste should be counteracted；
with such manly pride as Euripides expressed to the Athenians； who
criticised his works； 〃I do not compose；〃 says he； 〃my works in order to be
corrected by you； but to instruct you。〃 It is true； to have a right to speak
thus； a man must be a Euripides。 However； thus much may be allowed；
that when an artist is sure that he is upon firm ground； supported by the
authority and practice of his predecessors of the greatest reputation； he
may then assume the boldness and intrepidity of genius； at any rate； he
63
… Page 64…
SEVEN DISCOURSES ON ART
must not be tempted out of the right path by any tide of popularity that
always accompanies the lower styles of painting。
I mention this； because our exhibitions； that produce such admirable
effects by nourishing emulation； and calling out genius； have also a
mischievous tendency by seducing the painter to an ambition of pleasing
indiscriminately the mixed multitude of people who resort to them。
64
… Page 65…
SEVEN DISCOURSES ON ART
A DISCOURSE VI
Delivered to the Students of the Royal Academy on the
Distribution of the Prizes； December 10； 1774； by the President。
Gentlemen；When I have taken the liberty of addressing you on the
course and order of your studies； I never proposed to enter into a minute
detail of the art。 This I have always left to the several professors； who
pursue the end of our institution with the highest honour to themselves；
and with the greatest advantage to the students。
My purpose in the discourses I have held in the Academy is to lay
down certain general ideas； which seem to me proper for the formation of
a sound taste； princip
