The Use of a Box of Colours Part 9

Most of the Dutch landscape painters seem universally agreed on this arrangement, as having that beautiful contrast of force and softness we so often see in coast scenes, and leaving so large a s.p.a.ce as two-thirds of the picture for the luminous forms of the clouds.

Broken heaths, road scenes, corn-fields, boats on the water, with their forcible and deep shadows, fishermen on the sands, all readily adapt themselves to this manner; which, likewise, from the light tone that pervades the whole, requires the strongest opposition and contrast of colour--so that the colours be carried well through the picture; that is, if the ground be warm, a figure in blue placed in the foreground may be carried out by being repeated in the blue of the water, and so into parts of the sky, &c. And, on the other hand, if the ground be cool grey, as in a river scene, the boats may be yellow, and the figures red, carried up and diffused into the warm lights of the sky, or striking on the sandy sh.o.r.e and distant buildings, and even reaching the birds in the air--all will help to convey the colours through the work.

In working out this system, let the lights be bright, and their shadows strong and forcible, keeping the middle tints tender, airy, and delicate. A few trials on this plan will soon convince the student of the beauty and real look of daylight it has over many others.

In examining the works of Cuyp, when the picture is painted on a light key, he is sure to make use of very strong colour, to clear up and give vigour to the whole, in his figures; serving, at the same time, to invest the general ma.s.s with air, breadth, and extent.

Rembrandt thought it of more consequence to paint light, than the objects seen by it.

't.i.tian's great care was to express the general colour, to preserve the ma.s.ses of light and shade, and to give, by opposition, the idea of that solidity which is inseparable from natural objects. When these are preserved, though the work should possess no other merit, it will have, in a proper place, its complete effect; but where any of these are wanting, however minutely laboured the picture may be in detail, the whole will have a false, and even an unfinished appearance, at whatever distance, or in whatever light it can be shown. It is in vain to attend to the variations of tints, if in that attention, the general _hue_ is lost, or to finish ever so minutely the parts, if the ma.s.ses are not observed, or the _whole_ not well put together. And those who will examine into the artifice, will find it to consist in the power of _generalizing_, and the shortness and simplicity of the means employed;'

and in fixed principles, our general ideas predominating over our individual.

Rubens, in his splendid manner, involved all the schools--Roman, Dutch, and Venetian! yet, with all this magnificence and variety, possessed repose.

ACCIDENT.--Accident often comes in aid of invention. In nature, all objects by daylight are equally illumined; the painter has, therefore, always found it necessary to avail himself of accident, whenever it may occur: shadows, in particular, reflected upon one object by another; large floating ma.s.ses of light or shade thrown across a mountain, a flat country, or an open sea, by the pa.s.sing clouds as they sail by; flashes and streaks of light, as they struggle from between them, &c., are all adapted to work out the general effect. Where the _forms_ of a composition are _insufficient_, this is the usual resource, these accessories generally supplying grandeur and elevation to the scene. All catching lights should be laid hold of with equal tenacity. The clearing off of a shower is particularly favourable to this useful auxiliary.

DEXTERITY AND AFFECTATION.

A CONTEMPTIBLE species of affectation in the form of a _dashing dexterity_--used, in most instances, to confuse and mystify bad drawing, conceal ignorance of principles, and all the higher excellencies a painter should have studied and brought to aid his work--has been so widely diffused of late, that a notice of this splashing attainment may not be out of place in a work of this kind. I have heard of 's.n.a.t.c.hing a grace beyond the reach of art,' but could never comprehend its meaning.

It is 'natural to be more captivated with what is brilliant than with what is solid, and to prefer splendid negligence to painful and humiliating exactness.'

Mere novelty and peculiarity, having no other merits, when it ceases to be new, it ceases to have value.

That which is solely addressed to the _eye_, is certainly inferior to that which is addressed to the imagination.

If too much indulgence is given to peculiarity, _mannerism_ will be sure to be the result!

'A facility in composing, a lively and masterly handling, are captivating qualities to young minds: they endeavour to imitate these dazzling excellencies, and, after much time spent in the frivolous pursuit, find, when too late, the difficulty of retreat; and there is scarce an instance of return to scrupulous labour, after the mind has been deceived by this fallacious mastery. By this useless industry, whilst boys, they have arrived at their _utmost perfection_; they have taken the shadow for the substance; and make the mechanical felicity the chief excellence of the art, whilst it is one of the most dangerous sources of corruption. They wish to find some shorter path to excellence, and hope to obtain the reward of eminence by other means than those, which the indispensable rules of art have prescribed. But whatever the force of genius may be, there is no _easy_ method of becoming a good painter.'

There is no mechanism in painting; for those, who by a clever handling, possess this quality to the greatest perfection, are rarely found to excel in the higher realities of art.

It is to the _whole_--the absolute and entire impression--the disposition of pictorial matter and auxiliaries, that imply ability and power in their treatment.

Do not let the love of novelty induce you to leave the beaten path of excellence; for all endeavours to surprise and please by that which is uncommon or new, will be attended with defeat; a matter, oftener the result of idleness and caprice, than the striking effect of a mind well-regulated and devoted to study.

Style, manner, handling, are for the most part matters of tact, distinguishing one painter from another, quite as much as one man's manners are known from another's. Where the inferior and subordinate pursuit of skill in _handling_ or execution is aimed at, it tends universally to form a _mannerist_; and this is the greatest evil of our time. Instead of elevating the mind to the quality of the _whole_, it degenerates into an abject and curious species of imitation of the parts, or of some one thing in particular the artist feels he can do cleverly; sacrificing to this 'industrious idleness,' correctness of drawing, character, expression, and elevation of style. In a word, it is mechanics, and not art! Grandeur, sublimity, simplicity, all fly from this one evil.

Style comprehends the whole of a picture, in all its mysterious or simple workings--its moral character--its elevation, or its degeneracy.

Decision, spirit, and freedom of execution and expertness of handling, opposed to feeble uncertainty, have great charms, in common with all excellencies; yet, so delusive is this species of fascination, that it becomes imperious to be guarded against it. The _end_ must not be sacrificed to the means!

OF BACKGROUNDS.

'ONE of the princ.i.p.al and most important parts of painting, is the nature and quality of backgrounds;' from which any round or solid body is to detach itself; and this may be so contrived that both may be of the same colour; 'because the convex sides of solid bodies do not receive the light in the same manner as the ground does, being lighter or darker than the ground.'

Different colours, or degrees of light in the background, can alone separate the object from it. They will become more detached as they differ from the colour of the object to be relieved.

The greatest relief is acquired by a ground of a _neutral_, or undetermined colour. But the object that is to stand out from it, depends wholly on its light and shade for relief.

According to the ground which surround colours, they will appear different to their natures. Flesh will look palest on a red ground: and a pale colour, redder on a yellow ground: and so on, always deriving their character from the surrounding one.

If any object in a composition does not sufficiently a.s.sert its place, instead of heightening the colour of it, it is generally more advisable, as the case may be, to subdue the power of its background.

The outlines of figures should be sketched with either the shadow-colour, or the colour of the ground, on which they are laid; strengthening them according to their situations.

A very useful resource, in painting, is often to look at your picture in a looking-gla.s.s, whose reflection is a _copy_ of the picture; and the picture, being a _copy_ from nature, a kind of a.n.a.logy is established: they are both on even superfices, and both give the idea of something _beyond_ their superfices. In viewing your picture in this manner, keep one eye shut: seeing from both eyes surround the objects too much.

Looking at your picture through the medium of a gla.s.s, blackened on one side, will, in divesting it of colour, show only its light and shade.

This is a capital way of ascertaining if the latter is right.

In painting, it is a good plan to leave _all you can_ to the imagination! it is _flattering_ to the beholder; it gives him lat.i.tude for the exertion of his own mind; and _he_ will supply, better than _you_, what you wanted, entirely to his own satisfaction--and, of course, to yours: deprive him of this, and you seldom fail to imbue him with apathy. _His_ imagination a.s.sumes characters and forms of its own; you have set it painting: he _finishes_ your picture, and is happy, because he has had something to do with it; and he will not quarrel with you, lest he should blame himself.

Painting should possess 'brilliancy without gaudiness, solidity without harshness, truth without familiarity, and sweetness without insipidity; all conjoined in the greatest breadth of colour.'

If a work possess the known and admitted excellencies of painting, although in the smallest and most moderate degree, it will have the peculiar appearance of _looking well_, which the want of them would quite invest with another character. The _faults_ of a great mind, capable of the greatest beauties, will never appear to have a vulgar origin.

It is just possible a picture may possess no defects, nor any beauties; but he who thinks entirely for himself, will give to his work an appearance of originality; he will be consistent with _himself!_ even faults will appear with some l.u.s.tre in those to whom they are quite natural.

In conclusion, jealously endeavour to ascertain if any thing has been admitted, or omitted, that, consistent with these rules, may prejudice the general harmony of the work in the _ensemble_.

If I have made use of any contradictory observations, it was because I was impressed with the usefulness of their application to the principle described; in which matter I may take shelter under the n.o.blest authorities of the Italian, English, or French, who have written on art.

I likewise trust I have said nothing the student will have to unlearn.

In a word, the grandest, the most exalted principle requires no more _time_ to become master of than the lowest and the worst! And, 'As no school ever excelled the Dutch--combining in itself all the excellencies of the Italian--painters should go to the Dutch and Flemish schools to learn the art of painting, as they would go to a grammar-school to learn languages.'--'A close examination of their works will give us that experience of the principles on which they wrought, in a _very_ short s.p.a.ce of time, which cost them ages to ascertain.

'The frequent allusions which every one, who treats of any art, is obliged to make to others, in order to ill.u.s.trate and confirm his principles, sufficiently show their near connexion and inseparable relation.'

However, 'The great business of study is to form a mind, adapted and adequate to all times, and to all occasions; to which all nature is then laid open.'

'The _highest_ point of art is to _conceal_ itself: and the very praises we lavish on works that are 'true to nature,' only prove the perfection of art.'

I have taken up the art as I found it in the practice of the most approved methods: nor have I attempted to support any paradoxes for the sake of novelty.

Theories herein investigated, and many rules here laid down, many loose and scattered suggestions and successful results, that 'pa.s.s current from one to another,' I have endeavoured to place in the readiest manner before the student, that they may become immediately available to his purpose, or occasionally refresh his memory, without caring whence they may be derived. Even in the collecting of disjointed materials, a structure is formed every way calculated to abridge his labours and shorten the road, however carelessly thrown together; and will, in all probability, stimulate him to further investigation.

Improve every hour, and the mind will become variously enriched by systematic study: it will look through Nature with a discriminating power, even to her minutest productions, but with a refinement of taste and skill of selection that will reject all that is unworthy. When small pretension finds a welcome, it usually arises from ignorance in those who patronize. These persons, in their turn, generally pay the penalty their errors or conceit bring upon them.

THE AUTHOR OF THIS WORK TEACHES UPON THE PRINCIPLES THEREIN DEMONSTRATED.