seven discourses on art(艺术七讲座)-第22节
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spread out before us； but it is an art； and no easy art； to know how or what
to choose； and how to attain and secure the object of our choice。
Thus the highest beauty of form must be taken from nature； but it is an
art of long deduction and great experience to know how to find it。
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We must not content ourselves with merely admiring and relishing； we
must enter into the principles on which the work is wrought； these do not
swim on the superficies； and consequently are not open to superficial
observers。
Art in its perfection is not ostentatious； it lies hid； and works its effect
itself unseen。 It is the proper study and labour of an artist to uncover and
find out the latent cause of conspicuous beauties； and from thence form
principles for his own conduct； such an examination is a continual
exertion of the mind； as great； perhaps； as that of the artist whose works he
is thus studying。
The sagacious imitator not only remarks what distinguishes the
different manner or genius of each master； he enters into the contrivance
in the composition； how the masses of lights are disposed； the means by
which the effect is produced； how artfully some parts are lost in the
ground； others boldly relieved； and how all these are mutually altered and
interchanged according to the reason and scheme of the work。 He
admires not the harmony of colouring alone； but he examines by what
artifice one colour is a foil to its neighbour。 He looks close into the tints；
of what colours they are composed； till he has formed clear and distinct
ideas； and has learnt to see in what harmony and good colouring consists。
What is learnt in this manner from the works of others becomes really our
own； sinks deep； and is never forgotten； nay； it is by seizing on this clue
that we proceed forward； and get further and further in enlarging the
principle and improving the practice。
There can be no doubt but the art is better learnt from the works
themselves than from the precepts which are formed upon these works；
but if it is difficult to choose proper models for imitation； it requires no
less circumspection to separate and distinguish what in those models we
ought to imitate。
I cannot avoid mentioning here； though it is not my intention at present
to enter into the art and method of study； an error which students are too
apt to fall into。
He that is forming himself must look with great caution and wariness
on those peculiarities； or prominent parts； which at first force themselves
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upon view； and are the marks； or what is commonly called the manner； by
which that individual artist is distinguished。
Peculiar marks I hold to be generally； if not always； defects； however
difficult it may be； wholly to escape them。
Peculiarities in the works of art are like those in the human figure； it is
by them that we are cognisable and distinguished one from another； but
they are always so many blemishes； which； however； both in the one case
and in the other； cease to appear deformities to those who have them
continually before their eyes。 In the works of art； even the most
enlightened mind； when warmed by beauties of the highest kind； will by
degrees find a repugnance within him to acknowledge any defects； nay； his
enthusiasm will carry him so far as to transform them into beauties and
objects of imitation。
It must be acknowledged that a peculiarity of style； either from its
novelty； or by seeming to proceed from a peculiar turn of mind； often
escapes blame； on the contrary； it is sometimes striking and pleasing； but
this it is vain labour to endeavour to imitate； because novelty and
peculiarity being its only merit； when it ceases to be new； it ceases to have
value。
A manner； therefore； being a defect； and every painter； however
excellent； having a manner； it seems to follow that all kinds of faults； as
well as beauties； may be learned under the sanction of the greatest
authorities。
Even the great name of Michael Angelo may be used to keep in
countenance a deficiency； or rather neglect of colouring； and every other
ornamental part of the art。
If the young student is dry and hard； Poussin is the same。 If his work
has a careless and unfinished air； he has most of the Venetian School to
support him。 If he makes no selection of objects； but takes individual
nature just as he finds it； he is like Rembrandt。 If he is incorrect in the
proportions of his figures； Correggio was likewise incorrect。 If his
colours are not blended and united； Rubens was equally crude。
In short； there is no defect but may be excused； if it is a sufficient
excuse that it can be imputed to considerable artists； but it must be
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remembered that it was not by these defects they acquired their reputation：
they have a right to our pardon； but not to our admiration。
However； to imitate peculiarities or mistake defects for beauties that
man will be most liable who confines his imitation to one favourite master；
and； even though he chooses the best； and is capable of distinguishing the
real excellences of his model； it is not by such narrow practice that a
genius or mastery in the art is acquired。 A man is as little likely to form a
true idea of the perfection of the art by studying a single artist as he would
be of producing a perfectly beautiful figure by an exact imitation of any
individual living model。
And as the painter； by bringing together in one piece those beauties
which are dispersed amongst a great variety of individuals； produces a
figure more beautiful than can be found in nature； so that artist who can
unite in himself the excellences of the various painters； will approach
nearer to perfection than any one of his masters。
He who confines himself to the imitation of an individual； as he never
proposes to surpass； so he is not likely to equal； the object of imitation。
He professes only to follow； and he that follows must necessarily be
behind。
We should imitate the conduct of the great artists in the course of their
studies； as well as the works which they produced； when they were
perfectly formed。 Raffaelle began by imitating implicitly the manner of
Pietro Perugino； under whom he studied； so his first works are scarce to be
distinguished from his master's； but soon forming higher and more
extensive views； he imitated the grand outline of Michael Angelo。 He
learnt the manner of using colours from the works of Leonardo da Vinci
and Fratre Bartolomeo： to all this he added the contemplation of all the
remains of antiquity that were within his reach； and employed others to
draw for him what was in Greece and distant places。 And it is from his
having taken so many models that he became himself a model for all
succeeding painters； always imitating； and always original。
If your ambition therefore be to equal Raffaelle； you must do as
Raffaelle did； take many models； and not take even him for your guide
alone to the exclusion of others。 And yet the number is infinite of those
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who seem； if one may judge by their style； to have seen no other works but
those of their master； or of some favourite whose manner is their first wish
and their last。
I will mention a few that occur to me of this narrow； confined； illiberal；
unscientific； and servil
