The Mind of the Artist Part 15

CLXXII

Let us ... examine modern portraits. I shut my eyes and think of those full lengths in the New Gallery and the Academy, which I have not seen this year, but whose every detail is familiar to me. You will find that a uniform light stretches from their chins to their toes; in all probability the background is a slab of grey into whose insensitive surface neither light nor air penetrates; or perhaps that most offensive portrait-painter's property, a sham room in which none of the furniture has been seen in its proper relation of light to the face, but has been muzzed in with slippery insincerity, and with an amiable hope that it may take its place behind the figure. The face, in all but one or two portraits, will lack definition of plane--will be flat and flabby. A white spot on the nose and high light on the forehead will serve for modelling; little or no attempt will have been made to get a light which will help the observer to concentrate on the head, or give the head its full measure of rotundity--your eyes will wander aimlessly from cheek to chiffon, from glinting satin to the pattern on the floor, forgetful of the purpose of the portrait, and only arrested by some dab of pink or mauve, which will remind you that the artist is developing a somewhat irrelevant colour scheme.

For solidity, for the realisation of the great constructive planes of things, for that element of sculpture which exists in all good painting, you will look in vain. I am sure that in an average Academy there are not three real attempts to get the values--that is, the inevitable relation of objects in light and shade that must exist under any circ.u.mstances--and not one attempt to contrive an artificial composition of light and shade which shall concentrate the attention of the spectator on the crucial point, and shall introduce these delightful effects of dark things against light and light against dark, which lend such richness and variety of tone and such vitality of construction to t.i.tian, Rembrandt, and Reynolds. If we turn for a moment to the National Gallery and look at Gainsborough's "Baillie Family," or Reynolds' "Three Ladies decorating the Term of Hymen," we see at once the difference; in Gainsborough's case the group is in a mellow flood of light, there are no strong shadows on any of the faces, and none of the figures are used to cast shadows on other figures in the group; and yet as you look you see the whole light of the picture culminating in the central head of the mother, the sides and bottom of the picture fade off into artificial shadow, exquisitely used, without which that glorious light would have been dissipated over the picture, losing all its effectiveness and carrying power. See how finely he has understood the reticent tones of the man behind, and how admirably the loosely painted convention of landscape background is made to carry on the purely artificial arrangement of light and shade. In the Reynolds the shadowed figure on the left, and the shadows that flit across the skirts of the other two figures, and the fine relief of the dark trees, give a wonderful richness of design to a picture that is not in other respects of the highest interest.

_C. W. Furse._

CLXXIII

Why have I not before now finished the miniature I promised to Mrs.

b.u.t.ts? I answer I have not till now in any degree pleased myself, and now I must entreat you to excuse faults, for portrait painting is the direct contrary to designing and historical painting in every respect.

If you have not nature before you for every touch, you cannot paint portrait; and if you have nature before you at all, you cannot paint history. It was Michael Angelo's opinion and is mine.

_Blake._

CLXXIV

I often find myself wondering why people are so frequently dissatisfied with their portraits, but I think I have discovered the princ.i.p.al reason--they are not pleased with themselves, and therefore cannot endure a faithful representation. I find it is the same with myself. I cannot bear any portraits of myself, except those of my own painting, where I have had the opportunity of coaxing them, so as to suit my own feelings.

_Northcote._

LIGHT AND SHADE

CLXXV

Don't be afraid of splendour of effect; nothing is more brilliant, nothing more radiant than nature. Painting tends to become confused and to lose its power to strike hard. Make things monumental and yet real; set down the lights and the shadows as in reality. Heads which are all in a half-tone flushed with colour from a strong sun; heads in the light, full of air and freshness; these should be a delight to paint.

_Cha.s.seriau._

CLXXVI

The first object of a painter is to make a simple flat surface appear like a relievo, and some of its parts detached from the ground; he who excels all others in that part of the art deserves the greatest praise.

This perfection of the art depends on the correct distribution of lights and shades called _Chiaro-scuro_. If the painter, then, avoids shadows, he may be said to avoid the glory of the art, and to render his work despicable to real connoisseurs, for the sake of acquiring the esteem of vulgar and ignorant admirers of fine colours, who never have any knowledge of relievo.

_Leonardo._

CLXXVII

Chiaroscuro, to use untechnical language and to speak of it as it is employed by all the schools, is the art of making atmosphere visible and painting objects in an envelope of air. Its aim is to create all the picturesque accidents of the shadows, of the half-tones and the light, of relief and distance, and to give in consequence more variety, more unity of effect, of caprice, and of relative truth, to forms as to colours. The opposite conception is one more ingenuous and abstract, a method by which one shows objects as they are, seen close, the atmosphere being suppressed, and in consequence without any perspective except the linear perspective, which results from the diminution in the size of objects and their relation to the horizon. When we talk of aeriel perspective we presuppose a certain amount of chiaroscuro.

_Fromentin._

CLXXVIII

A painter must study his picture in every degree of light; it is all little enough. You know, I suppose, that this period of the day between daylight and darkness is called "the painter's hour"? There is, however, this inconvenience attending it, which allowance must be made for--the reds look darker than by day, indeed almost black, and the light blues turn white, or nearly so. This low, fading light also suggests many useful hints as to arrangement, from the circ.u.mstance of the das.h.i.+ngs of the brush in a picture but newly commenced, suggesting forms that were not originally intended, but which often prove much finer ones. Ah, sometimes I see something very beautiful in these forms; but then I have such coaxing to do to get it fixed!--for when I draw near the canvas the vision is gone, and I have to go back and creep up to it again and again, and, at last, to hold my brush at the utmost length of my arm before I can fix it, so that I can avail myself of it the next day. The way to paint a really fine picture is first to paint it in the mind, to imagine it as strongly and distinctly as possible, and then to sketch it while the impression is strong and vivid.

[Ill.u.s.tration: _Puvis de Chavannes_ HOPE]

I have frequently shut myself up in a dark room for hours, or even days, when I have been endeavouring to imagine a scene I was about to paint, and have never stirred till I had got it clear in my mind; then I have sketched it as quickly as I could, before the impression has left me.

_Northcote._

DECORATIVE ART

CLXXIX

Decoration is the activity, the life of art, its justification, and its social utility.

_Bracquemond._

CLx.x.x

The true function of painting is to animate wall-s.p.a.ces. Apart from this, pictures should never be larger than one's hand.

_Puvis de Chavannes._

CLx.x.xI

I want big things to do and vast s.p.a.ces, and for common people to see them and say Oh!--only Oh!

_Burne-Jones._

CLx.x.xII

I insist upon mural painting for three reasons--first, because it is an exercise of art which demands the absolute knowledge only to be obtained by honest study, the value of which no one can doubt, whatever branch of art the student might choose to follow afterwards; secondly, because the practice would bring out that gravity and n.o.bility deficient in the English school, but not in the English character, and which being latent might therefore be brought out; and, thirdly, for the sake of action upon the public mind. For public improvement it is necessary that works of sterling but simple excellence should be scattered abroad as widely as possible. At present the public never see anything beautiful excepting in exhibition rooms, when the novelty of sight-seeing naturally disturbs the intellectual perceptions. It is a melancholy fact that scarcely a single object amongst those that surround us has any pretension to real beauty, or could be put simply into a picture with n.o.ble effect. And as I believe the love of beauty to be inherent in the human mind, it follows that there must be some unfortunate influence at work; to counteract this should be the object of a fine-art inst.i.tution, and I feel a.s.sured if really good things were scattered amongst the people, it would not be long before satisfactory results exhibited themselves.

_G. F. Watts._

CLx.x.xIII

I have ... gone for great ma.s.ses of light and shade, relieved against one another, the only bright local colour being the blue of the workmens' coats and trousers. I have intentionally avoided the whole business of "flat decoration" by "making the things part of the walls,"

as one is told is so important. On the contrary, I have treated them as pictures and have tried to make holes in the wall--that is, as far as relief of strong light and shade goes; in the figures I have struggled to keep a certain quality of bas-relief--that is, I have avoided distant groups--and have woven my compositions as tightly as I can in the very foreground of the pictures, as without this I felt they would lose their weight and dignity, which does seem to me the essential business in a mural decoration, and which makes Puvis de Chavannes a great decorator far more than his flat mimicry of fresco does.... Tintoretto, in S.