Modern Painters Volume I Part 12

-- 4. All repet.i.tion is blamable.

-- 5. The duty of the painter is the same as that of a preacher.

But the case is widely different, when instead of a principle violated, we have one extraordinarily carried out or manifested under unusual circ.u.mstances. Though nature is constantly beautiful, she does not exhibit her highest powers of beauty constantly, for then they would satiate us and pall upon our senses. It is necessary to their appreciation that they should be rarely shown. Her finest touches are things which must be watched for; her most perfect pa.s.sages of beauty are the most evanescent. She is constantly doing something beautiful for us, but it is something which she has not done before and will not do again; some exhibition of her general powers in particular circ.u.mstances which, if we do not catch at the instant it is pa.s.sing, will not be repeated for us. Now they are these evanescent pa.s.sages of perfected beauty, these perpetually varied examples of utmost power, which the artist ought to seek for and arrest. No supposition can be more absurd than that effects or truths frequently exhibited are more characteristic of nature than those which are equally necessary by her laws, though rarer in occurrence. Both the frequent and the rare are parts of the same great system; to give either exclusively is imperfect truth, and to repeat the same effect or thought in two pictures is wasted life. What should we think of a poet who should keep all his life repeating the same thought in different words? and why should we be more lenient to the parrot-painter who has learned one lesson from the page of nature, and keeps stammering it out with eternal repet.i.tion without turning the leaf? Is it less tautology to describe a thing over and over again with lines, than it is with words? The teaching of nature is as varied and infinite as it is constant; and the duty of the painter is to watch for every one of her lessons, and to give (for human life will admit of nothing more) those in which she has manifested each of her principles in the most peculiar and striking way. The deeper his research and the rarer the phenomena he has noted, the more valuable will his works be; to repeat himself, even in a single instance, is treachery to nature, for a thousand human lives would not be enough to give one instance of the perfect manifestation of each of her powers; and as for combining or cla.s.sifying them, as well might a preacher expect in one sermon to express and explain every divine truth which can be gathered out of G.o.d's revelation, as a painter expect in one composition to express and ill.u.s.trate every lesson which can be received from G.o.d's creation. Both are commentators on infinity, and the duty of both is to take for each discourse one essential truth, seeking particularly and insisting especially on those which are less palpable to ordinary observation, and more likely to escape an indolent research; and to impress that, and that alone, upon those whom they address, with every ill.u.s.tration that can be furnished by their knowledge, and every adornment attainable by their power. And the real truthfulness of the painter is in proportion to the number and variety of the facts he has so ill.u.s.trated; those facts being always, as above observed, the realization, not the violation of a general principle. The quant.i.ty of truth is in proportion to the number of such facts, and its value and instructiveness in proportion to their rarity. All really great pictures, therefore, exhibit the general habits of nature, manifested in some peculiar, rare, and beautiful way.

CHAPTER V.

OF THE RELATIVE IMPORTANCE OF TRUTHS:--THIRDLY, THAT TRUTHS OF COLOR ARE THE LEAST IMPORTANT OF ALL TRUTHS.

-- 1. Difference between primary and secondary qualities in bodies.

In the two last chapters, we have pointed out general tests of the importance of all truths, which will be sufficient at once to distinguish certain cla.s.ses of properties in bodies, as more necessary to be told than others, because more characteristic, either of the particular thing to be represented, or of the principles of nature.

According to Locke, Book ii. chap. 8, there are three sorts of qualities in bodies: first, the "bulk, figure, number, situation, and motion or rest of their solid parts: those that are in them, whether we perceive them or not." These he calls primary qualities. Secondly, "the power that is in any body to operate after a peculiar manner on any of our senses," (sensible qualities.) And thirdly, "the power that is in any body to make such a change in another body as that it shall operate on our senses differently from what it did before: these last being usually called _powers_."

-- 2. The first are fully characteristic, the second imperfectly so.

Hence he proceeds to prove that those which he calls primary qualities are indeed part of the essence of the body, and characteristic of it; but that the two other kinds of qualities which together he calls secondary, are neither of them more than _powers_ of producing on other objects, or in us, certain effects and sensations. Now a power of influence is always equally characteristic of two objects--the active and pa.s.sive; for it is as much necessary that there should be a power in the object suffering to receive the impression, as in the object acting to give the impression. (Compare Locke, Book ii. chap. 21, sect. 2.) For supposing two people, as is frequently the case, perceive different scents in the same flower, it is evident that the power in the flower to give this or that depends on the nature of their nerves, as well as on that of its own particles; and that we are as correct in saying it is a power in us to perceive, as in the object to impress. Every power, therefore, being characteristic of the nature of two bodies, is imperfectly and incompletely characteristic of either separately; but the primary qualities, being characteristic only of the body in which they are inherent, are the most important truths connected with it. For the question, what the thing _is_, must precede, and be of more importance than the question, what can it do.

-- 3. Color is a secondary quality, therefore less important than form.

Now by Locke's definition above given, only bulk, figure, situation, and motion or rest of solid parts, are primary qualities. Hence all truths of color sink at once into the second rank. He, therefore, who has neglected a truth of form for a truth of color, has neglected a greater truth for a less one.

-- 4. Color no distinction between objects of the same species.

And that color is indeed a most unimportant characteristic of objects, will be farther evident on the slightest consideration. The color of plants is constantly changing with the season, and of everything with the quality of light falling on it; but the nature and essence of the thing are independent of these changes. An oak is an oak, whether green with spring or red with winter; a dahlia is a dahlia, whether it be yellow or crimson; and if some monster-hunting botanist should ever frighten the flower blue, still it will be a dahlia; but let one curve of the petals--one groove of the stamens be wanting, and the flower ceases to be the same. Let the roughness of the bark and the angles of the boughs be smoothed or diminished, and the oak ceases to be an oak; but let it retain its inward structure and outward form, and though its leaves grew white, or pink, or blue, or tri-color, it would be a white oak, or a pink oak, or a republican oak, but an oak still. Again, color is hardly ever even a _possible_ distinction between two objects of the same species. Two trees, of the same kind, at the same season, and of the same age, are of absolutely the same color; but they are not of the same form, nor anything like it. There can be no difference in the color of two pieces of rock broken from the same place; but it is impossible they should be of the same form. So that form is not only the chief characteristic of species, but the only characteristic of individuals of a species.

-- 5. And different in a.s.sociation from what it is alone.

Again, a color, in a.s.sociation with other colors, is different from the same color seen by itself. It has a distinct and peculiar power upon the retina dependent on its a.s.sociation. Consequently, the color of any object is not more dependent upon the nature of the object itself, and the eye beholding it, than on the color of the objects near it; in this respect also, therefore, it is no characteristic.

-- 6. It is not certain whether any two people see the same color in things.

And so great is the uncertainty with respect to those qualities or powers which depend as much on the nature of the object suffering as of the object acting, that it is totally impossible to prove that one man sees in the same thing the same color that another does though he may use the same name for it. One man may see yellow where another sees blue, but as the effect is constant, they agree in the term to be used for it, and both call it blue, or both yellow, having yet totally different ideas attached to the term. And yet neither can be said to see falsely, because the color is not in the thing, but in the thing and them together. But if they see forms differently, one must see falsely, because the form is positive in the object. My friend may see boars blue for anything I know, but it is impossible he should see them with paws instead of hoofs, unless his eyes or brain are diseased. (Compare Locke, Book ii. chap. x.x.xii. -- 15.) But I do not speak of this uncertainty as capable of having any effect on art, because, though perhaps Landseer sees dogs of the color which I should call blue, yet the color he puts on the canvas, being in the same way blue to him, will still be brown or dog-color to me; and so we may argue on points of color just as if all men saw alike, as indeed in all probability they do; but I merely mention this uncertainty to show farther the vagueness and unimportance of color as a characteristic of bodies.

-- 7. Form considered as an element of landscape, includes light and shade.

-- 8. Importance of light and shade in expressing the character of bodies and unimportance of color.

Before going farther, however, I must explain the sense in which I have used the word "form," because painters have a most inaccurate and careless habit of confining the term to the _outline_ of bodies, whereas it necessarily implies light and shade. It is true that the outline and the chiaroscuro must be separate subjects of investigation with the student; but no form whatsoever can be known to the eye in the slightest degree without its chiaroscuro; and, therefore, in speaking of form generally as an element of landscape, I mean that perfect and harmonious unity of outline with light and shade, by which all the parts and projections and proportions of a body are fully explained to the eye, being nevertheless perfectly independent of sight or power in other objects, the presence of light upon a body being a positive existence, whether we are aware of it or not, and in no degree dependent upon our senses. This being understood, the most convincing proof of the unimportance of color lies in the accurate observation of the way in which any material object impresses itself on the mind. If we look at nature carefully, we shall find that her colors are in a state of perpetual confusion and indistinctness, while her forms, as told by light and shade, are invariably clear, distinct, and speaking. The stones and gravel of the bank catch green reflections from the boughs above; the bushes receive grays and yellows from the ground; every hairbreadth of polished surface gives a little bit of the blue of the sky or the gold of the sun, like a star upon the local color; this local color, changeful and uncertain in itself, is again disguised and modified by the hue of the light, or quenched in the gray of the shadow; and the confusion and blending of tint is altogether so great, that were we left to find out what objects were by their colors only, we would scarcely in places distinguish the boughs of a tree from the air beyond them, or the ground beneath them. I know that people unpractised in art will not believe this at first; but if they have accurate powers of observation, they may soon ascertain it for themselves; they will find that, while they can scarcely ever determine the _exact_ hue of anything, except when it occurs in large ma.s.ses, as in a green field or the blue sky, the form, as told by light and shade, is always decided and evident, and the source of the chief character of every object.

Light and shade indeed so completely conquer the distinctions of local color, that the difference in hue between the illumined parts of a white and black object is not so great as the difference (in suns.h.i.+ne) between the illumined and dark side of either separately.

-- 9. Recapitulation.

We shall see hereafter, in considering ideas of beauty, that color, even as a source of pleasure, is feeble compared to form; but this we cannot insist upon at present; we have only to do with simple truth, and the observations we have made are sufficient to prove that the artist who sacrifices or forgets a truth of form in the pursuit of a truth of color, sacrifices what is definite to what is uncertain, and what is essential to what is accidental.

CHAPTER VI.

RECAPITULATION.

-- 1. The importance of historical truths.

It ought farther to be observed respecting truths in general, that those are always most valuable which are most historical, that is, which tell us most about the past and future states of the object to which they belong. In a tree, for instance, it is more important to give the appearance of energy and elasticity in the limbs which is indicative of growth and life, than any particular character of leaf, or texture of bough. It is more important that we should feel that the uppermost sprays are creeping higher and higher into the sky, and be impressed with the current of life and motion which is animating every fibre, than that we should know the exact pitch of relief with which those fibres are thrown out against the sky. For the first truths tell us tales about the tree, about what it has been, and will be, while the last are characteristic of it only in its present state, and are in no way talkative about themselves. Talkative facts are always more interesting and more important than silent ones. So again the lines in a crag which mark its stratification, and how it has been washed and rounded by water, or twisted and drawn out in fire, are more important, because they tell more than the stains of the lichens which change year by year, and the accidental fissures of frost or decomposition; not but that both of these are historical, but historical in a less distinct manner, and for shorter periods.

-- 2. Form, as explained by light and shade, the first of all truths.

Tone, light and color are secondary.

Hence in general the truths of specific form are the first and most important of all; and next to them, those truths of chiaroscuro which are necessary to make us understand every quality and part of forms, and the relative distances of objects among each other, and in consequence their relative bulks. Altogether lower than these, as truths, though often most important as beauties, stand all effects of chiaroscuro which are productive merely of imitations of light and tone, and all effects of color. To make us understand the _s.p.a.ce_ of the sky, is an end worthy of the artist's highest powers; to hit its particular blue or gold is an end to be thought of when we have accomplished the first, and not till then.

-- 3. And deceptive chiaroscuro the lowest of all.

Finally, far below all these come those particular accuraciesor tricks of chiaroscuro which cause objects to look projecting from the canvas, not worthy of the name of truths, because they require for their attainment the sacrifice of all others; for not having at our disposal the same intensity of light by which nature ill.u.s.trates her objects, we are obliged, if we would have perfect deception in one, to destroy its relation to the rest. (Compare Sect. II. chap. V.) And thus he who throws one object out of his picture, never lets the spectator into it.

Michael Angelo bids you follow his phantoms into the abyss of heaven, but a modern French painter drops his hero out of the picture frame.

This solidity or projection then, is the very lowest truth that art can give; it is the painting of mere matter, giving that as food for the eye which is properly only the subject of touch; it can neither instruct nor exalt, nor please except as jugglery; it addresses no sense of beauty nor of power; and wherever it characterizes the general aim of a picture, it is the sign and the evidence of the vilest and lowest mechanism which art can be insulted by giving name to.

CHAPTER VII.

GENERAL APPLICATION OF THE FOREGOING PRINCIPLES.

-- 1. The different selection of facts consequent on the several aims at imitation or at truth.

We have seen, in the preceding chapters, some proof of what was before a.s.serted, that the truths necessary for deceptive imitation are not only few, but of the very lowest order. We thus find painters ranging themselves into two great cla.s.ses; one aiming at the development of the exquisite truths of specific form, refined color, and ethereal s.p.a.ce, and content with the clear and impressive suggestion of any of these, by whatsoever means obtained; and the other casting all these aside, to attain those particular truths of tone and chiaroscuro, which may trick the spectator into a belief of reality. The first cla.s.s, if they have to paint a tree, are intent upon giving the exquisite designs of intersecting undulation in its boughs, the grace of its leaf.a.ge, the intricacy of its organization, and all those qualities which make it lovely or affecting of its kind. The second endeavor only to make you believe that you are looking at wood. They are totally regardless of truths or beauties of form; a stump is as good as a trunk for all their purposes, so that they can only deceive the eye into the supposition that it _is_ a stump and not canvas.

-- 2. The old masters, as a body, aim only at imitation.

-- 3. What truths they gave.