seven discourses on art(艺术七讲座)-第25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！
73
… Page 74…
SEVEN DISCOURSES ON ART
upon view； and are the marks； or what is commonly called the manner； by
which that individual artist is distinguished。
Peculiar marks I hold to be generally； if not always； defects； however
difficult it may be； wholly to escape them。
Peculiarities in the works of art are like those in the human figure； it is
by them that we are cognisable and distinguished one from another； but
they are always so many blemishes； which； however； both in the one case
and in the other； cease to appear deformities to those who have them
continually before their eyes。 In the works of art； even the most
enlightened mind； when warmed by beauties of the highest kind； will by
degrees find a repugnance within him to acknowledge any defects； nay； his
enthusiasm will carry him so far as to transform them into beauties and
objects of imitation。
It must be acknowledged that a peculiarity of style； either from its
novelty； or by seeming to proceed from a peculiar turn of mind； often
escapes blame； on the contrary； it is sometimes striking and pleasing； but
this it is vain labour to endeavour to imitate； because novelty and
peculiarity being its only merit； when it ceases to be new； it ceases to have
value。
A manner； therefore； being a defect； and every painter； however
excellent； having a manner； it seems to follow that all kinds of faults； as
well as beauties； may be learned under the sanction of the greatest
authorities。
Even the great name of Michael Angelo may be used to keep in
countenance a deficiency； or rather neglect of colouring； and every other
ornamental part of the art。
If the young student is dry and hard； Poussin is the same。 If his work
has a careless and unfinished air； he has most of the Venetian School to
support him。 If he makes no selection of objects； but takes individual
nature just as he finds it； he is like Rembrandt。 If he is incorrect in the
proportions of his figures； Correggio was likewise incorrect。 If his
colours are not blended and united； Rubens was equally crude。
In short； there is no defect but may be excused； if it is a sufficient
excuse that it can be imputed to considerable artists； but it must be
74
… Page 75…
SEVEN DISCOURSES ON ART
remembered that it was not by these defects they acquired their reputation：
they have a right to our pardon； but not to our admiration。
However； to imitate peculiarities or mistake defects for beauties that
man will be most liable who confines his imitation to one favourite master；
and； even though he chooses the best； and is capable of distinguishing the
real excellences of his model； it is not by such narrow practice that a
genius or mastery in the art is acquired。 A man is as little likely to form a
true idea of the perfection of the art by studying a single artist as he would
be of producing a perfectly beautiful figure by an exact imitation of any
individual living model。
And as the painter； by bringing together in one piece those beauties
which are dispersed amongst a great variety of individuals； produces a
figure more beautiful than can be found in nature； so that artist who can
unite in himself the excellences of the various painters； will approach
nearer to perfection than any one of his masters。
He who confines himself to the imitation of an individual； as he never
proposes to surpass； so he is not likely to equal； the object of imitation。
He professes only to follow； and he that follows must necessarily be
behind。
We should imitate the conduct of the great artists in the course of their
studies； as well as the works which they produced； when they were
perfectly formed。 Raffaelle began by imitating implicitly the manner of
Pietro Perugino； under whom he studied； so his first works are scarce to be
distinguished from his master's； but soon forming higher and more
extensive views； he imitated the grand outline of Michael Angelo。 He
learnt the manner of using colours from the works of Leonardo da Vinci
and Fratre Bartolomeo： to all this he added the contemplation of all the
remains of antiquity that were within his reach； and employed others to
draw for him what was in Greece and distant places。 And it is from his
having taken so many models that he became himself a model for all
succeeding painters； always imitating； and always original。
If your ambition therefore be to equal Raffaelle； you must do as
Raffaelle did； take many models； and not take even him for your guide
alone to the exclusion of others。 And yet the number is infinite of those
75
… Page 76…
SEVEN DISCOURSES ON ART
who seem； if one may judge by their style； to have seen no other works but
those of their master； or of some favourite whose manner is their first wish
and their last。
I will mention a few that occur to me of this narrow； confined； illiberal；
unscientific； and servile kind of imitators。 Guido was thus meanly
copied by Elizabetta Sirani； and Simone Cantarini； Poussin； by Verdier
and Cheron； Parmigiano； by Jeronimo Mazzuoli； Paolo Veronese and
Iacomo Bassan had for their imitators their brothers and sons； Pietro de
Cortona was followed by Ciro Ferri and Romanelli； Rubens； by Jacques
Jordans and Diepenbeck； Guercino； by his own family； the Gennari； Carlo
Marratti was imitated by Giuseppe Chiari and Pietro da Pietri； and
Rembrandt； by Bramer； Eckhout； and Flink。 All these； to whom may be
added a much longer list of painters； whose works among the ignorant
pass for those of their masters； are justly to be censured for barrenness and
servility。
To oppose to this list a few that have adopted a more liberal style of
imitation： Pelegrino Tibaldi； Rosso； and Primaticio did not coldly imitate；
but caught something of the fire that animates the works of Michael
Angelo。 The Carraches formed their style from Pelegrino Tibaldi；
Correggio； and the Venetian School。 Domenichino； Guido； Lanfranco；
Albano； Guercino； Cavidone； Schidone； Tiarini； though it is sufficiently
apparent that they came from the School of the Carraches； have yet the
appearance of men who extended their views beyond the model that lay
before them； and have shown that they had opinions of their own； and
thought for themselves； after they had made themselves masters of the
general principles of their schools。
Le Seure's first manner resembles very much that of his master Vovet：
but as he soon excelled him； so he differed from him in every part of the
art。 Carlo Marratti succeeded better than those I h
