seven discourses on art(艺术七讲座)-第24节
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either ingenious compositions； extraordinary effects； some peculiar
expressions； or some mechanical excellence； well worthy his attention and；
in some measure； of his imitation； even in the lower class of the French
painters； great beauties are often found united with great defects。
Though Coypel wanted a simplicity of taste； and mistook a
presumptuous and assuming air for what is grand and majestic； yet he
frequently has good sense and judgment in his manner of telling his stories；
great skill in his compositions； and is not without a considerable power of
expressing the passions； The modern affectation of grace in his works； as
well as in those of Bouche and Watteau； may be said to be separated by a
very thin partition from the more simple and pure grace of Correggio and
Parmigiano。
Amongst the Dutch painters； the correct； firm； and determined pencil；
which was employed by Bamboccio and Jan Miel on vulgar and mean
subjects； might without any change be employed on the highest； to which；
indeed； it seems more properly to belong。 The greatest style； if that style
is confined to small figures such as Poussin generally painted； would
receive an additional grace by the elegance and precision of pencil so
admirable in the works of Teniers。
Though this school more particularly excelled in the mechanism of
painting； yet there are many who have shown great abilities in expressing
what must be ranked above mechanical excellences。
In the works of Frank Hals the portrait painter may observe the
composition of a face； the features well put together as the painters
express it； from whence proceeds that strong marked character of
individual nature which is so remarkable in his portraits； and is not to be
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found in an equal degree in any other painter。 If he had joined to this
most difficult part of the art a patience in finishing what he had so
correctly planned； he might justly have claimed the place which Vandyke；
all things considered； so justly holds as the first of portrait painters。
Others of the same school have shown great power in expressing the
character and passions of those vulgar people which are the subjects of
their study and attention。 Amongst those； Jean Stein seems to be one of
the most diligent and accurate observers of what passed in those scenes
which he frequented； and which were to him an academy。 I can easily
imagine that if this extraordinary man had had the good fortune to have
been born in Italy instead of Holland； had he lived in Rome instead of
Leyden； and had been blessed with Michael Angelo and Raffaelle for his
masters instead of Brower and Van Gowen； that the same sagacity and
penetration which distinguished so accurately the different characters and
expression in his vulgar figures； would； when exerted in the selection and
imitation of what was great and elevated in nature； have been equally
successful； and his name would have been now ranged with the great
pillars and supporters of our art。
Men who； although thus bound down by the almost invincible powers
of early habits； have still exerted extraordinary abilities within their
narrow and confined circle； and have； from the natural vigour of their
mind； given such an interesting expression； such force and energy to their
works； though they cannot be recommended to be exactly imitated； may
yet invite an artist to endeavour to transfer； by a kind of parody； those
excellences to his own works。 Whoever has acquired the power of making
this use of the Flemish； Venetian； and French schools is a real genius； and
has sources of knowledge open to him which were wanting to the great
artists who lived in the great age of painting。
To find excellences however dispersed； to discover beauties however
concealed by the multitude of defects with which they are surrounded； can
be the work only of him who； having a mind always alive to his art； has
extended his views to all ages and to all schools； and has acquired from
that comprehensive mass which he has thus gathered to himself； a well
digested and perfect idea of his art； to which everything is referred。 Like
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a sovereign judge and arbiter of art； he is possessed of that presiding
power which separates and attracts every excellence from every school；
selects both from what is great and what is little； brings home knowledge
from the east and from the west； making the universe tributary towards
furnishing his mind and enriching his works with originality and variety of
inventions。
Thus I have ventured to give my opinion of what appears to me the
true and only method by which an artist makes himself master of his
profession； which I hold ought to be one continued course of imitation；
that is not to cease but with our lives。
Those who； either from their own engagements and hurry of business；
or from indolence； or from conceit and vanity； have neglected looking out
of themselves； as far as my experience and observation reaches； have from
that time not only ceased to advance and improve in their performance；
but have gone backward。 They may be compared to men who have lived
upon their principal till they are reduced to beggary and left without
resources。
I can recommend nothing better； therefore； than that you endeavour to
infuse into your works what you learn from the contemplation of the
works of others。 To recommend this has the appearance of needless and
superfluous advice； but it has fallen within my own knowledge that artists；
though they are not wanting in a sincere love for their art； though they
have great pleasure in seeing good pictures； and are well skilled to
distinguish what is excellent or defective in them； yet go on in their own
manner； without any endeavour to give a little of those beauties which
they admire in others； to their own works。 It is difficult to conceive how
the present Italian painters； who live in the midst of the treasures of art；
should be contented with their own style。 They proceed in their
common…place inventions； and never think it worth while to visit the
works of those great artists with which they are surrounded。
I remember several years ago to have conversed at Rome with an artist
of great fame throughout Europe； he was not without a considerable
degree of abilities； but those abilities were by no means equal to his own
opinion of them。 From the reputation he had acquired he too fondly
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concluded that he stood in the same rank； when compared to his
predecessors； as he held with regard to his miserable contemporary rivals。
In conversation about some particulars of the works of Raffaelle； he
seemed to have； or to affect to have； a very obscure memory of them。 He
told me that he had not set his foot in the Vatican for fifteen years together；
that indeed he had been in treaty to copy a capital picture of Raffaelle； but
that the business had gone off； however； if the agreement had held； his
copy would have greatly exceeded the original。 The merit of this artist；
however great we may suppose it； I am sure would have been far greater；
and his presumption would have been far less if he had visited the Vatican；
as in reason he ought to have done； once at least every month of his life。
I address myself； gentlemen； to you who have made some progress in
the art； and are to be for the future
