Art Principles with Special Reference to Painting. Ernest Govett

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СКАЧАТЬ might regard as the result of inspiration, but in reality they would be the product of a trained imagination operating under advantageous conditions.

      Nor can any rule be laid down that the character or temperament of an artist influences his work, for if instances can be given in support of such an assertion, at least an equal number may be adduced which directly oppose it. If we might approximately gauge the true characters of Fra Angelico and Michelangelo from a study of their work, it is certain that no imagination could conjure up the actual personalities of Perugino and Cellini, from an examination of the paintings of the one and the sculptures of the other. What can be said on the subject when assassins of the nature of Corenzio and Caravaggio painted so many beautiful things, and evil-minded men like Ribera and Battistello adorned great churches with sacred compositions? If the work of Claude appears to harmonize with his character, that of Turner does not. "Friendless in youth: loveless in manhood; hopeless in death." Such was Turner according to Ruskin, but is there any sign of this in his works? Not a trace. If any conclusion as to his character and temperament can be drawn from Turner's paintings, it is that he was a gay, light-hearted thinker, with all the optimism and high spirits that come from a delight in beautiful things. The element of mood is unquestionably of importance in the work of an artist, but it is not uncommon to find the character of his designs contrary to his mood. Poets, as in the case of Hood, or painters as with Tassaert, may execute the most lively pieces while in moods verging on despair. With some men adversity quickens the imagination with fancies; with others it benumbs their faculties.

The tendency of popular criticism to search for psychological phenomena in paintings, apparently arises largely from the difficulty in comprehending how it is that certain artists of high repute vary their styles of painting after many years of good work, and produce pictures without the striking beauty characterizing their former efforts. Sometimes when age is beginning to tell upon them, they broaden their manner considerably, as with Rembrandt and others of the seventeenth century, and many recent artists of lesser fame. The critic, very naturally perhaps, is chary of condemning work from the hand of one who has given evidence of consummate skill, and so seeks for hidden beauties in lieu of those to which he has been accustomed. A simple enquiry into the matter will show that the change of style in these cases has a commonplace natural cause.

       PLATE 2 "Le Bon Dieu d'Amiens" (Amiens Cathedral)

      (See page 319)

      To be in the front rank an artist must have acquired a vast knowledge of the technique of his art, and have a powerful imagination which has been highly cultivated. But the qualifications must be balanced. Commonly when this balance is not present the deficiency is in the imagination, but there are instances where, though the power of execution is supreme, the imagination has so far exceeded all bounds as to render this power of comparatively small practical value. The most conspicuous example of this want of balance is Lionardo, who accomplished little though he was scarcely surpassed in execution by Raphael or Michelangelo. His imagination invariably ran beyond his execution; his ideas were always above the works he completed or partly finished: he saw in fact far beyond anything he could accomplish, and so was never satisfied with the result of his labour. At the same time he was filled with ideas in the sciences, and investigated every branch of knowledge without bringing his conclusions to fruition. During the latter part of his life, Michelangelo showed a similar defect in a lesser degree, for his unfinished works of the period exceed in number those he completed. Naturally such intellectual giants, whose imaginations cannot be levelled with the highest ability in execution, are few, but the lesser luminaries who fail, or who constantly fail, in carrying out their conceptions, are legion, though they may have absorbed the limit of knowledge which they are capable of acquiring in respect of execution. It is common for a painter to turn out a few masterpieces and nothing else of permanent value. This was the case with numerous Italian artists of the seventeenth century, and it is indeed a question whether there is one of them, except perhaps Domenichino, whose works have not a considerable range in æsthetic value.

      There have been still more artists whose powers of execution were far beyond the flights of their imaginations. They include the whole of the seventeenth century Dutch school with Rembrandt at their head, and the whole of the Spanish school of the same period, except El Greco, Zurbaran, and Murillo. When an artist is in the first rank in respect of execution, but is distinctly inferior in imaginative scope, his work in all grades of his art, except the highest, where ideals are possible, seems to have a greater value than it really possesses because we are insensibly cognizant that the accomplishment rises above the idea upon which it is founded. On the other hand his work in the highest plane appears to possess a lower value, because we are surprised that ideals have not been attempted, and that the types of the spiritual and classical personages represented are of the same class of men and women as those exhibited in works dealing with ordinary human occupations or actions. This is why the sacred and classical pictures of Rembrandt, Vermeer of Delft, and the other leading Dutch artists, appear to be below their portrait and genre work in power.

      The course of variation in the work of a great painter follows the relative power of his imagination and his execution. Where there is a fair balance between the two, the work of the artist increases in æsthetic value with his age and experience; but when his facility in execution rises above the force of his imagination, then his middle period is invariably the best, his later work showing a gradual depreciation in quality. The reason is obvious. The surety of the hand and eye diminishes more rapidly than the power of the mind, which in fact is commonly enhanced with experience till old age comes on. Great artists who rely mostly upon their powers of execution, and exhibit limited fertility in invention, such as Rembrandt, have often a manner which is so interwoven with the effects they seek, that they are seldom or never able to avail themselves of the assistance of others in the lesser important parts of their work. A man with the fertile mind of a Rubens may gather around him a troupe of artists nearly as good as himself in execution, who will carry out his designs completely save for certain details. Thus he is not occupied with laborious toil, and the decreasing accuracy of his handiwork troubles him but little. On the other hand a Rembrandt, whose merits lie chiefly in the delicate manipulation of light effects and intricate shades in expression, remains tied to his canvas. He feels intensely the decreasing facility in the use of his brush which necessarily accompanies his advancing years, and his only recourse from a stoppage of work is an alteration in manner involving a reduction of labour and a lessened strain upon the eyesight. With few exceptions the great masterpieces of Rembrandt were produced in his middle period. During the last ten or fifteen years of his life he gradually increased his breadth of manner. He was still magnificent in general expression, but the intimate details which produced such glorious effects in the great Amsterdam picture, and fifty or more of his single portraits, could not be obtained with hog's hair.8

      Disconnecting then the work of the artist with inspiration or other psychological force, we may now enquire what is mean by "Genius," "Natural gift," or other term used to explain the power of an artist to produce a great work? It would appear that the answer is closely concerned with the condition of the sensorial nerves at birth, and the precocity or otherwise of the infantile imagination. From the fact that we can cultivate the eye and ear so as to recognize forms of harmony which we could not before perceive, and seeing that the effect of this cultivation is permanent, it follows that exercise must bring about direct changes in the nerves associated with these organs, attuning them so to speak, and enabling them to respond to newer harmonies arising from increased complexity of the signs used.9 It is matter of common knowledge that the structure of the sensorial nerves varies largely in different persons at birth, and when a boy at a very early age shows precocious ability in music or drawing, we may properly infer that the condition of his optic or aural nerves is comparatively advanced, that is to say, it is much less rudimentary than that of the average person at the same age; in other words accident has given him a nerve regularity which can only be gained by the average boy after long exercise. The precocious youth has not a nerve structure СКАЧАТЬ