seven discourses on art(艺术七讲座)-第16章
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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
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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。
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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； principles necessary to guard the pupils against those errors
into which the sanguine temper common at their time of life； has a
tendency to lead them； and which have rendered abortive the hopes of so
many successions of promising young men in all parts of Europe。
I wish； also； to intercept and suppress those prejudices which
particularly prevail when the mechanism of painting is come to its
perfection； and which when they do prevail are certain to prevail to the
utter destruction of the higher and more valuable parts of this literate and
liberal profession。
These two have been my principal purposes； they are still as much my
concern as ever； and if I repeat my own ideas on the subject； you who
know how fast mistake and prejudice； when neglected； gain ground upon
truth and reason； will easily excuse me。 I only attempt to set the same
thing in the greatest variety of lights。
The subject of this discourse will be imitation； as far as a painter is
concerned in it。 By imitation I do not mean imitation in its largest sense；
but simply the following of other masters； and the advantage to be drawn
from the study of their works。
Those who have undertaken to write on our art； and have represented it
as a kind of inspiration； as a gift bestowed upon peculiar favourites at their
birth； seem to ensure a much more favourable disposition from their
readers； and have a much more captivating and liberal air； than he who
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goes about to examine； coldly； whether there are any means by which this
art may be acquired； how our mind may be strengthened and expanded；
and what guides will show the way to eminence。
It is very natural for those who are unacquainted with the cause of
anything extraordinary to be astonished at the effect； and to consider it as a
kind of magic。 They； who have never observed the gradation by which
art is acquired； who see only what is the full result of long labour and
application of an infinite number； and infinite variety of acts； are apt to
conclude from their entire inability to do the same at once； that it is not
only inaccessible to themselves； but can be done by those only who have
some gift of the nature of inspiration bestowed upon them。
The travellers into the East tell us that when the ignorant inhabitants of
these countries are asked concerning the ruins of stately edifices yet
remaining amongst them； the melancholy monuments of their former
grandeur and long…lost science； they always answer that they were built by
magicians。 The untaught mind finds a vast gulf between its own powers
and these works of complicated art which it is utterly unable to fathom。
And it supposes that such a void can be passed only by supernatural
powers。
And； as for artists themselves； it is by no means their interest to
undeceive such judges； however conscious they may be of the very natural
means by which the extraordinary powers were acquired； our art being
intrinsically imitative； rejects this idea of inspiration more； perhaps； than
any other。
It is to avoid this plain confession of truth； as it should seem； that this
imitation of mastersindeed； almost all imitation which implies a more
regular and progressive method of attaining the ends of paintinghas ever
been particularly inveighed against with great keenness； both by ancient
and modern writers。
To derive all from native power； to owe nothing to another； is the
praise which men； who do not much think what they are saying； bestow
sometimes upon others； and sometimes on themselves； and their imaginary
dignity is naturally heightened by a supercilious censure of the low； the
barren； the grovelling； the servile imitator。 It would be no wonder if a
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student； frightened by these terrors and disgraceful epithets； with which
the poor imitators are so often loaded； should let fall his pencil in mere
despair； conscious how much he has been indebted to the labours of others；
how little； how very little of his art was born with him； and； considering it
as hopeless； to set about acquiring by the imitation of any human master
what he is taught to suppose is matter of inspiration from heaven。
Some allowance must be made for what is said in the gaiety or
ambition of rhetoric。 We cannot suppose that any one can really mean to
exclude all imitation of others。 A position so wild would scarce deserve a
serious answer； for it is apparent； if we were forbid to make use of the
advantages which our predecessors afford us； the art would be always to
begin； and consequently remain always in its infant state； and it is a
common observation that no art was ever invented and carried to
perfection at the same time。
But to bring us entirely to reason and sobriety； let it be observed； that a
painter must not only be of necessity an imitator of the works of nature；
which alone is sufficient to dispel this phantom of inspiration； but he must
be as necessarily an imitator of the works of other painters。 This appears
more humiliating； but it is equally true； and no man can be an artist；
whatever he may suppose； upon any other terms。
However； those who appear more moderate and reasonable allow that
study is to begin by imitation； but that we should no longer use the
thoughts of our predecessors when we are become able to think for
ourselves。 They hold that imitation is as hurtful to the more advanced
student as it was advantageous to the beginner。
For my own part； I confess I am not only very much disposed to lay
down the absolute necessity of imitation in the first stages of the art； but
am of opinion that the study of other masters； which I here call imitation；
may be extended throughout our whole life without any danger of the
inconveniences with which it is charged； of enfeebling the mind； or
preventing us from giving that original air which every work undoubtedly
ought always to have。
I am； on the contrary； persuaded that by imitation only； variety； and
even originality of invention is produced。
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I will go further； even genius； at least what generally is so called； is the
child of imitation。 But as this appears to be contrary to the general
opinion； I must explain my position before I enforce it。
Genius is supposed to be a power of producing excellences which are
out of the reach of the rules of arta power which no precepts can teach；
and which no industry can acquire。
This opinion of the impossibility of acquiring those beauties which
stamp the work with the character of genius； suppose
