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manner of the nobler historical painters, whose principles of conception and composition they entirely reversed. The course of study which has led me reverently to the feet of Michael Angelo and Da Vinci, has alienated me gradually from Claude and Gaspar—I cannot at tbe same time do homage to power and pettiness—to the truth of consummate science, and the mannerism of undisciplined imagination. And let it be understood that whenever hereafter I speak depreciatingly of the old masters as a body, I refer to none of the historical painters, for whom I entertain a veneration, which though I hope reasonable in its grounds, is almost superstitious in degree. Neither, unless he be particularly mentioned, do I intend to include Nicholas Poussin, whose landscapes have a separate and elevated character, which renders it necessary to consider them apart from all others. Speaking generally of the older masters, I refer only to Claude, Gaspar Poussin, Salvator Rosa, Cuyp, Berghem, Both, Ruysdael, Hobbima, Teniers, (in his landscapes,) P. Potter, Canaletti, and the various Van somethings, and Back somethings, more especially and malignantly those who have libelled the sea.

It will of course be necessary for me in the commencement of the work to state briefly those principles on which I conceive all right judgment of art must be founded. These introductory chapters I should wish to be read carefully, because all criticism must be useless when the terms or grounds of it are in any degree ambiguous; and the ordinary language of connoisseurs and critics, granting that they understand it themselves, is usually mere jargon to others, from their custom of using technical terms, by which everything is meant, and nothing is expressed.

«5. The author's •^n(l i', m the application of these principles, in em'workVeira'^- sI"*;e °f m.v endeavor to render it impartial, the ble- feeling and fondness which I have for some works

of modern art escape me sometimes where it should not, let it be pardoned as little more than a fair counterbalance to that peculiar veneration with which the work of the older master, associated as it has ever been in our ears with the expression of whatever is great or perfect, must be usually regarded by the reader. I do not say that this veneration is wrong, nor that we should be less attentive to the repeated words of time : but let us not forget, that if honor be for the dead, gratitude can only be for the living. He who has once stood beside the grave, to look back upon the companionship which has been forever closed, feeling how impotent there are the wild love, or the keen sorrow, to give one instant,s pleasure to the pulseless heart, or atone in the lowest measure to the departed spirit for the hour of unkindness, will scarcely for the future incur that debt to the heart, which can only be discharged to the dust. But the lesson which men receive as individuals, they do not learn as nations. Again and again they have seen their noblest descend into the grave, and have thought it enough to garland the tombstone when they had not crowned the brow, and to pay the honor to the ashes, which they had denied to the spirit. Let it not displease them that they are bidden, amidst the tumult and the dazzle of their busy life, to listen for the few voices, and watch for the few lamps, which God has toned and lighted to charm and to guide them, that they may not learn their sweetness by their silence, nor their light by their decay. CHAPTER II.

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DEFINITION OF GREATNESS IN ART.

In the 15th Lecture of Sir Joshua Reynolds, incidental notice is taken of the distinction between those excellences in the painter which belong to him as such, and those which belong to . j Distinction n^m *n common with all men of intellect, the genpaliTteTM thfntei- era,l anc* exalted powers of which art is the evibhnfcifknowi- dence and expression, not the subject. But the •"tee- distinction is not there dwelt upon as it should

be, for it is owing to the slight attention ordinarily paid to it, that criticism is open to every form of coxcombry, and liable to every phase of error. It is a distinction on which depend all sound judgment of the rank of the artist, and all just appreciation of the dignity of art.

$2. Painting, as Painting, or art generally, as such, with all more 'tha"011!^ ^s technicalities, difficulties, and particular ends, guage. is nothing Dut a noble and expressive Janguage,

invaluable as the vehicle of thought, but by itself nothing. He who has learned, what is commonly considered the whole art of painting, that is, the art of representing any natural object faithfully, has as yet only learned the language by which his thoughts are to be expressed. He has done just as much towards being that which we ought to respect as a great painter, as a man who has learned how to express himself grammatically and melodiously has towards being a great poet. The language is, indeed, more difficult of acquirement in the one case than in the other, and possesses more power of delighting the sense, while it speaks to the intellect, but it is, nevertheless, nothing more than language, and all those excellences which are peculiar to the painter as such, are merely what rhythm, melody, precision and force are in the words of the orator and the poet, necessary to their greatness, but not the tests of their greatness. It is not by the mode of representing and saying, but by what-js represented and said, that the respective greatness either of the painter or the writer is to be finally determined.

Speaking with strict propriety, therefore, we term correspond- should call a man a great painter only as he ex*' "' celled in precision and force in the language of lines, and a great versifier, as he excelled in precision or force in the language of words. A great poet would then be a term 6trictly, and in precisely the same sense applicable to both, if warranted by the character of the images or thoughts which each in their respective languages convey.

Take, for instance, one of the most perfect

|4. Example in ,t ,1. j v

a painting of E. poems or pictures (1 use the words as synonymous) which modern times have seen :—the " Old Shepherd,s Chief-mourner." Here the exquisite execution of the glossy and crisp hair of the dog, the bright sharp touching of the green bough beside it, the clear painting of the wood of the coffin and the folds of the blanket, are language—language clear and expressive in the highest degree. But the close pressure of the dog,s breast against the wood, the convulsive clinging of the paws, which has dragged the blanket off the trestle, the total powerlessness of the head laid, close and motionless, upon its folds, the fixed and tearful fall of the eye in its utter hopelessness, the rigidity of repose which marks that there has been no motion nor change in the trance of agony since the last blow was struck on the coffin-lid, the quietness and gloom of the chamber, the spectacles marking the place where the Bible was last closed, indicating how lonely has been the life—how unwatched the departure of him who is now laid solitary in his sleep ;—these are all thoughts—thoughts by which the picture is separated at once from hundreds of equal merit, as far as mere painting goes, by which it ranks as a work of high art, and stamps its author, not as the neat imitator of the texture of a skin, or the fold of a drapery, but as the Man of Mind.

It is not, however, always easy, either in paintLing an exact ing or literature, to determine where the influence language and of language stops, and where that of thought begins. Many thoughts are so dependent upon the

10 DEFINITION OF GREATNESS IN ART. [PART I.

language in which they are clothed, that they would lose half their beauty if otherwise expressed. But the highest thoughts are those which are least dependent on language, and the dignity of any composition and praise to which it is entitled, are in exact proportion to its independency of language or expression. A composition is indeed usually most perfect, when to such intrinsic dignity is added all that expression can do to attract and adorn; but in every case of supreme excellence this all becomes as nothing. We are more gratified by the simplest lines or words which can suggest the idea in its own naked beauty, than by the robe or the gem which conceal while they decorate ; we are better pleased to feel by their absence how little they could bestow, than by their presence how much they can destroy. «6. Distinction There is therefore a distinction to be made UveWa?id oxpret between what is ornamental in language and what sive language. is cxpressive. That part of it which is necessary to the embodying and conveying the thought is worthy of respect and attention as necessary to excellence, though not the test of it. But that part of it which is decorative has little more to do with the intrinsic excellence of the picture than the frame or the varnishing of it. And this caution in distinguishing between the ornamental and the expressive is peculiarly necessary in painting; for in the language of words it is nearly impossible for that which is not expressive to be beautiful, except by mere rhythm or melody, any sacrifice to which is immediately stigmatized as error. But the beauty of mere language in painting is not only very attractive and entertaining to the spectator, but requires for its attainment no small exertion of mind and devotion of time by the artist. Hence, in art, men have frequently fancied that they were becoming rhetoricians and poets when they were only learning to speak melodiously, and the judge has over and over again advanced to the honor of authors those who were never more than ornamental writing-masters.

«t. instance in Most pictures of the Dutch school, for instance, early""afian""'' excepting always those of Rubens, Vandyke, and schools. Rembrandt, are ostentatious exhibitions of the ar

tist,s power of speech, the clear and vigorous elocution of useless and senseless words: while the early efforts of Cimabue and

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