Art Principles with Special Reference to Painting. Ernest Govett

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СКАЧАТЬ target="_blank" rel="nofollow" href="#ulink_5f061bb5-b3a5-516f-99cf-82371a2638db">[b] See Chap. IX.

[c] The varied interpretations of Impressionism are referred to elsewhere (see page ). When using the term in this book without qualification, the writer means thereby the subordination of design to colour, which definition covers all the forms of the "new art" without going beyond any of them.

BOOK I

       Table of Contents

CHAPTER I

       Table of Contents

Classification of the fine arts

       Table of Contents

      The arts imitative of nature—The arts classified according to the character of their signs—Poetry not a compound art, primarily—The extent to which the arts may improve upon nature.

      Since art uses natural signs for the purpose of representing nature, it is necessarily mimetic in character.19

      Poetry represents all that the other arts imitate, and in addition, presumed divine actions. Specially it imitates human and presumed spiritual actions, with form and expression; expression directly, form indirectly.

      Sculpture imitates human and presumed spiritual form and expression; form directly, expression indirectly. It also represents animal forms, and modifications of natural forms in ornament.

      Painting imitates natural forms and products, and specially human form and expression; form directly, expression indirectly.

      Fiction imitates human actions, and form and expression; expression directly, form indirectly.

      Music imitates natural sounds and combines them and specially represents human emotional effects.

      Architecture is the least imitative of the arts, its freedom in the representation of nature being restricted by the necessity of serving the end of utility. It combines geometrical forms, and in the positions and proportions of these, is compelled to represent what we understand from experience of nature as natural balance.

      The poet may give to a character sublime attributes far above experience, or expand form as Homer raises the stature of Strife to the heavens, but he cannot provide attributes beyond experience in kind, or any part of a form outside of nature. He may combine or rearrange, and enlarge or diminish as he will, and so may the painter, the sculptor, or musician, but he is powerless to create signs unknown to nature. It follows then, that he who imitates nature in the most beautiful way, that is to say, he who combines the signs of nature to form the most beautiful whole, produces the greatest work of art.

      It would appear that upon the character of their principal signs is dependent the relative position of the arts in respect of the recognition of beauty therein. Of the six fine arts, namely, Poetry, Sculpture, Painting, Fiction, Music, and Architecture, the first four, which hereafter in this work will be known as the Associated Arts, have for their principal sign the human figure, to which everything else is subordinate; while in music the signs consist of tones, and in architecture, of lines.

All the other arts whose object is to give pleasure, as the drama, dancing, etching, are either modifications of one of the fine arts, or combinations of two or more of them. In recent times it has been held that poetry is a combined art, owing to the almost invariable use of a simple form of music in its construction, but it would appear that primarily poetry is independent of metrical assistance. This was clearly laid down by Aristotle, but modern definitions of the art have usually included some reference to metre.20 Now in our common experience two things are observable in respect of poetry. The first is, that when by way of admiration or criticism, we discuss the works of those poets whom all the world recognizes as the greatest known to us, we deal only with the substance of what is said, and the manner of saying it, without reference to the metrical form. In the second place we observe that the higher the poetry, the more simple is the metrical form with which it is associated. The great epics, which necessarily take first rank in poetry, have only metre, the higher musical measures in which lyrics are set being avoided. But as we descend in the scale of the art, metrical form becomes of more importance, and when simple subjects are dealt with, and a grand style is inappropriate, the production would not be called poetry unless in the form of verse.

      PLATE 6 The Reposing Venus of Giorgione (Dresden Gallery)

      (See page 116)

      In epic and dramatic poetry, we call one poet greater than another because of his superior invention and beauty of expression, let the measure be what it will. But the invention comes first, for only high invention can be clothed with lofty expression. The actions of deathless gods or god-like men; qualities of goodness, nobility, courage, grandeur, so high as to be above human reach: only these can form the subject of language and sentiment soaring into regions of the sublime, and indifferent to metrical artifice. In the sacred books of all great religions we may find the loftiest poetry without regular form, and any prose translation of the Greek poets will provide many examples,21 though often there is a cadence—a rise and fall in the flow of words which is more or less regular, and has the effect of emphasizing the sentiment, and of throwing the images upon the mind with directness and force. We must conclude then that in poetry, while metrical form is generally essential, it is not vital to the highest flights of the poet, and so strictly, poetry is primarily a pure and not a compound art.

      Seeing that art uses the signs of nature of which man is at once a product and a tool, it must in its progress follow the general course of nature. In her development of life, nature is chiefly concerned in the improvements of types for her own purposes, and only uses the individual in so far as he can assist in this end, while the natural instinct of the individual is to conserve and improve his type. The art which represents life is compelled to deal chiefly with types, for it is only by the use of a type that the artist can apply his imagination to the production of high beauty, to whatever extent he may use the individual to help him in this purpose, and it is instinctive in the human being to maintain and improve the æsthetic attraction of the species. The highest art, as the highest work of nature, consists of the presentation of a perfected type. The artist therefore must consider the species before the individual; the essential before the accidental; the general before the particular.

      The living signs of nature with which art deals are of two classes. In the one sign the position of parts is the same throughout the species, and is fixed and invariable, as in fully developed animals; in the other the position is irregular, and variable within limits, as in plants. In the latter case the position of parts may be commonly varied indefinitely without a sense of incongruity arising, as in a tree, and hence there can be no conceivable general form or type upon which art may build up perfected parts and proportions. In respect of such a sign therefore, art cannot improve, or appear to improve, upon nature, by combining perfected parts into a more beautiful whole than nature provides.

      In the case of a fully developed animal, where the position of parts СКАЧАТЬ