Sir Joshua Reynolds' Discourses. Sir Joshua Reynolds

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СКАЧАТЬ is not friendly," he remarked, "to hand down to posterity the imperfections of any person." This comment of the doctor's is equally characteristic of the man and his times. At so low an ebb was art and art criticism in those days, that people less learned than Johnson failed to grasp the truth of Reynolds' dictum, now become almost a commonplace, that a portrait but receives enhanced value as a human and historical document if it makes us acquainted with any natural peculiarity that characterises the person delineated. Johnson rebelled against the notion he deduced from this circumstance that Sir Joshua would make him known to posterity by his defects only; he vowed to Mrs. Thrale he would not be so known. "Let Sir Joshua do his worst, … he may paint himself as deaf as he chooses, but I will not be blinking Sam."

       In this anecdote, in this juxtaposition of two great names, each thoroughly representative of their epoch, can be traced both the cause of Sir Joshua's success, and of the difficulties against which he had to strive. Reynolds may with truth be named the father of modern English art, for before him English art can scarcely be said to have existed, since what was produced on British soil was chiefly the work of foreigners. The records even of this older art are sufficiently barren. It would appear that in the reign of Henry III. some foreign artists were invited over to decorate Winchester Castle, but of them and their works little trace remains. At the time when Italy was producing her masterpieces no native artist of whom we have record bedaubed canvas in Great Britain; and when the pomp-loving Henry VIII. wished to vie with his great contemporaries, Charles V., Leo X., and Francis I., he had to turn to the Continent for the men to execute his desires. That he himself had no true taste or love for the arts is well known; it was purely the spirit of emulation that prompted him. How crude were his own art notions may be gathered from the written instructions he left for a monument to his memory. They serve equally to illustrate the state of public taste in England at a period when Italy was inspired by the genius of Michael Angelo, of Raphael, and of Titian. The memorandum directs that "the king shall appear on horseback, of the stature of a goodly man; while over him shall appear the image of God the Father, holding the king's soul in his left hand, and his right extended in the act of benediction." This work was to have been executed in bronze, and was considerably advanced when Elizabeth put a stop to its progress. It was afterwards sold by the Puritan parliament for six hundred pounds. Still, for all his own artistic incapacity, it is more than probable that had not Henry, for private domestic reasons, adopted the Reformed faith, England under his reign might have witnessed a prosperous art period, which, it is true, would not have been native art, but might have given impetus towards its birth. Thackeray was fond of saying that it was no idle speculation to suppose what would have happened had Napoleon won the battle of Waterloo. To those who love such fruitless mental sports it may prove no idle speculation to ponder what would have happened had Henry's amorous desires not led him to liberate himself and his nation from the bosom of the Catholic Church. Enough that the facts are there, and that with the first ardour of Protestant zeal there also made itself felt a chilling influence, casting a blight over literature and art, and more especially over art, till then so almost exclusively the handmaiden of religion, that a work of art came to be regarded as a symbol and remembrance of popery, and "painting and sculpture were conscientiously discouraged as tending to encourage idolatry and superstition and to minister to passion and luxury." Queen Mary, Elizabeth, and James I., each in their way gave some encouragement to foreign artists, such as Moro, Zucchero, and Mytens, but their patronage was purely personal, and did not operate upon the taste of the nation. More extended influence was exercised by Charles I. This monarch had a real love and understanding for art, and under him Rubens and Vandyke employed their pencils. He also bought many pictures, and encouraged his nobles to do the like. At least, among the upper classes the narrow Puritan art views were greatly counteracted. But Charles had to lay his head upon the block, and Puritanism had fuller and more unchecked sway than ever before, creating influences which to this very day are not wholly extinct, though happily in their death throes. Their latest survival is the "British Matron" who writes to the Times denouncing modern pictures that displease her individual taste, and the artists, happily rare and few, who preach that the study of the nude and anatomy is no essential part of a painter's education.

      After the death of Charles a general wreck of works of art ensued. Whatever survived the bigotry of the Puritans was sacrificed to supply their pecuniary necessities. A curious mixture of superstition and covetousness was displayed. The journals of the House of Commons of 1645 afford some interesting reading like the following:—"Ordered: that all pictures and sketches as are without superstition shall be forthwith sold for the benefit of Ireland and the north. Ordered: that all such pictures as have the representation of the Virgin Mary upon them shall be forthwith burnt. Ordered: that all such pictures as have the representation of the Second Person of the Trinity upon them shall be forthwith burnt." It seems, however, that these orders were not quite strictly executed. The Puritan conscience having been relieved by this edict, many prohibited pictures were sold at a high price to swell the coffers of the zealots. After this it is needless to remark that art did not flourish under the Commonwealth. With the Restoration we find Lely practising his method of portrait-painting, succeeded by Sir Godfrey Kneller, neither, however, being Englishmen. The era of George I. produced as native painters, Richardson and Sir James Thornhill; under George II. Hudson flourished; it was reserved to the long reign of George III. to see the birth of what can be truly termed art, of what alone can measure itself with the nations of the Continent. Hogarth was the first upon the list, but Hogarth, inimitable as he is, was rather a satirist than an artist in the full acceptation of the term. Of beauty of draughtmanship, of colour, we find next to nothing in his canvasses. Together with him flourished Hudson, and a little later Wilson and Gainsborough, who, like himself, and, indeed, like all English artists up to that time, had imbibed their teaching through the medium of Flanders, producing exact and careful work—indeed, in Gainsborough's case, work of real beauty—but lacking on the side of poetical feeling and elevation. Such a method must be regarded as the infancy of art, its purely observant but unthinking side. It was reserved to Reynolds to open out to English understanding the vista of Italian art, with its glories, its perfections, and it is owing to his Discourses, even more than to his works, that this mighty revolution came about; a revolution so mighty, so important, that for its sake alone, had he never limned a canvas, the name of Reynolds should stand forth proudly in the annals of England. It was he who, coming to Italy, already in mature manhood, as a finished artist in the eyes of his countrymen, had the perception and the courage to admit before the works of Raphael and Michael Angelo that it was needful for him "to become as a little child" and recommence his studies upon principles of which hitherto he was ignorant.

      Joshua Reynolds was born at Plympton, in Devonshire, July 16th, 1723, the tenth child of the Rev. Samuel Reynolds, rector of Plympton and principal of the local grammar school. His father was the boy's only instructor. He had destined him, it would seem, for the medical profession, and Reynolds is known to have said in latter life that if this design had been carried out, "he should have felt the same determination to become the most eminent physician as he then felt to be the first painter of his age and country." It was, indeed, his decided opinion (an opinion modern psychology would hardly endorse) that "the superiority attainable in any pursuit whatever does not originate in an innate propensity of the mind for that pursuit in particular, but depends on the general strength of the intellect, and on the intense and constant application of that strength to a specific purpose." He held that ambition was the cause of eminence, but that accident pointed out the means. It is impossible to decide whether or no Reynolds illustrates his own theory, but from what he said in private, and also in his Discourses, many erroneous conclusions are drawn as to this point. As his biographer, Northcote, justly observes, Reynolds "never meant to deny the existence of genius, supposing the term to denote a greater degree of natural capacity in some minds than others; but he always contended strenuously against the vulgar and absurd interpretation of the word, which supposes that the same person may be a man of genius in one respect, but utterly unfit for, and almost an idiot in everything else; and that this singular and unaccountable faculty is a gift born with us, which does not need the assistance of pains or culture, time or accident, to improve and perfect it."

      Whatever Reynolds' private views on the subject of native taste asserting itself in the young, he himself undoubtedly showed a liking for art at an early age, and his taste was СКАЧАТЬ