seven discourses on art(艺术七讲座)-第15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！
natural growth； and of a piece with the rest of their character。 A faithful
picture of a mind； though it be not of the most elevated kind； though it be
irregular； wild； and incorrect； yet if it be marked with that spirit and
firmness which characterises works of genius； will claim attention； and be
more striking than a combination of excellences that do not seem to hang
well together； or we may say than a work that possesses even all
excellences； but those in a moderate degree。
One of the strongest marked characters of this kind； which must be
allowed to be subordinate to the great style； is that of Salvator Rosa。 He
gives us a peculiar cast of nature； which； though void of all grace；
elegance； and simplicity； though it has nothing of that elevation and
dignity which belongs to the grand style； yet has that sort of dignity which
belongs to savage and uncultivated nature。 But what is most to be
admired in him is the perfect correspondence which he observed between
the subjects which he chose； and his manner of treating them。
Everything is of a piece： his rocks； trees； sky； even to his handling have
59
… Page 60…
SEVEN DISCOURSES ON ART
the same rude and wild character which animates his figures。
To him we may contrast the character of Carlo Maratti； who； in my
own opinion； had no great vigour of mind or strength of original genius。
He rarely seizes the imagination by exhibiting the higher excellences； nor
does he captivate us by that originality which attends the painter who
thinks for himself。 He knew and practised all the rules of art； and from a
composition of Raffaelle； Caracci； and Guido； made up a style； of which
its only fault was； that it had no manifest defects and no striking beauties；
and that the principles of his composition are never blended together； so as
to form one uniform body； original in its kind； or excellent in any view。
I will mention two other painters who； though entirely dissimilar； yet
by being each consistent with himself； and possessing a manner entirely
his own； have both gained reputation； though for very opposite
accomplishments。
The painters I mean are Rubens and Poussin。 Rubens I mention in
this place； as I think him a remarkable instance of the same mind being
seen in all the various parts of the art。 The whole is so much of a piece
that one can scarce be brought to believe but that if any one of them had
been more correct and perfect； his works would not be so complete as they
now appear。 If we should allow a greater purity and correctness of
drawing； his want of simplicity in composition； colouring； and drapery
would appear more gross。
In his composition his art is too apparent。 His figures have
expression； and act with energy； but without simplicity or dignity。 His
colouring； in which he is eminently skilled； is； notwithstanding； too much
of what we call tinted。 Throughout the whole of his works there is a
proportionable want of that nicety of distinction and elegance of mind
which is required in the higher walks of painting； and to this want it may
be in some degree ascribed that those qualities which make the excellency
of this subordinate style appear in him with their greatest lustre。 Indeed；
the facility with which he invented； the richness of his composition； the
luxuriant harmony and brilliancy of his colouring； so dazzle the eye； that
whilst his works continue before us we cannot help thinking that all his
deficiencies are fully supplied。
60
… Page 61…
SEVEN DISCOURSES ON ART
Opposed to this florid； careless； loose； and inaccurate style； that of the
simple； careful； pure； and correct style of Poussin seems to be a complete
contrast。
Yet however opposite their characters； in one thing they agreed； both
of them having a perfect correspondence between all the parts of their
respective manners。
One is not sure but every alteration of what is considered as defective
in either； would destroy the effect of the whole。
Poussin lived and conversed with the ancient statues so long； that he
may be said to be better acquainted with then than with the people who
were about him。 I have often thought that he carried his veneration for
them so far as to wish to give his works the air of ancient paintings。 It is
certain he copied some of the antique paintings； particularly the 〃Marriage
in the Albrobrandini Palace at Rome；〃 which I believe to be the best
relique of those remote ages that has yet been found。
No works of any modern has so much of the air of antique painting as
those of Poussin。 His best performances have a remarkable dryness of
manner； which； though by no means to be recommended for imitation； yet
seems perfectly correspondent to that ancient simplicity which
distinguishes his style。 Like Polidoro he studied them so much； that he
acquired a habit of thinking in their way； and seemed to know perfectly the
actions and gestures they would use on every occasion。
Poussin in the latter part of his life changed from his dry manner to
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
oug
