Modern Painters Volume I Part 18

-- 15. Falsehoods by which t.i.tian attains the appearance of quality in light.

Falsehood, in this neutral tone, if it may be so called, is a matter far more of feeling than of proof, for any color is _possible_ under such lights; it is meagreness and feebleness only which are to be avoided; and these are rather matters of sensation than of reasoning. But it is yet easy enough to prove by what exaggerated and false means the pictures most celebrated for this quality are endowed with their richness and solemnity of color. In the Bacchus and Ariadne of t.i.tian, it is difficult to imagine anything more magnificently impossible than the blue of the distant landscape;--impossible, not from its vividness, but because it is not faint and aerial enough to account for its purity of color; it is too dark and blue at the same time; and there is indeed so total a want of atmosphere in it, that, but for the difference of form, it would be impossible to tell the mountains (intended to be ten miles off) from the robe of Ariadne close to the spectator. Yet make this blue faint, aerial, and distant--make it in the slightest degree to resemble the truth of nature's color--and all the tone of the picture, all its intensity and splendor, will vanish on the instant. So again, in the exquisite and inimitable little bit of color, the Europa in the Dulwich Gallery; the blue of the dark promontory on the left is thoroughly absurd and impossible, and the warm tones of the clouds equally so, unless it were sunset; but the blue especially, because it is nearer than several points of land which are equally in shadow, and yet are rendered in warm gray. But the whole value and tone of the picture would be destroyed if this blue were altered.

-- 16. Turner will not use such means.

-- 17. But gains in essential truth by the sacrifice.

-- 18. The second quality of light.

Now, as much of this kind of richness of tone is always given by Turner as is compatible with truth of aerial effect; but he will not sacrifice the higher truths of his landscape to mere pitch of color as t.i.tian does. He infinitely prefers having the power of giving extension of s.p.a.ce, and fulness of form, to that of giving deep melodies of tone; he feels too much the incapacity of art, with its feeble means of light, to give the abundance of nature's gradations; and therefore it is, that taking pure white for his highest expression of light, that even pure yellow may give him one more step in the scale of shade, he becomes necessarily inferior in richness of effect to the old masters of tone, (who always used a golden highest light,) but gains by the sacrifice a thousand more essential truths. For, though we all know how much more like light, in the abstract, a finely-toned warm hue will be to the feelings than white, yet it is utterly impossible to mark the same number of gradations between such a sobered high light and the deepest shadow, which we can between this and white; and as these gradations are absolutely necessary to give the facts of form and distance, which, as we have above shown, are more important than any truths of tone,[17]

Turner sacrifices the richness of his picture to its completeness--the manner of the statement to its matter. And not only is he right in doing this for the sake of s.p.a.ce, but he is right also in the abstract question of color; for as we observed above (Sect. 14,) it is only the white light--the perfect unmodified group of rays--which will bring out local color perfectly; and if the picture, therefore, is to be complete in its system of color, that is, if it is to have each of the three primitives in their purity, it _must_ have white for its highest light, otherwise the purity of one of them at least will be impossible. And this leads us to notice the second and more frequent quality of light, (which is a.s.sumed if we make our highest representation of it yellow,) the positive hue, namely, which it may itself possess, of course modifying whatever local tints it exhibits, and thereby rendering certain colors necessary, and certain colors impossible. Under the direct yellow light of a descending sun, for instance, pure white and pure blue are both impossible; because the purest whites and blues that nature could produce would be turned in some degree into gold or green by it; and when the sun is within half a degree of the horizon, if the sky be clear, a rose light supersedes the golden one, still more overwhelming in its effect on local color. I have seen the pale fresh green of spring vegetation in the gardens of Venice, on the Lido side, turned pure russet, or between that and crimson, by a vivid sunset of this kind, every particle of green color being absolutely annihilated.

And so under all colored lights, (and there are few, from dawn to twilight, which are not slightly tinted by some accident of atmosphere,) there is a change of local color, which, when in a picture it is so exactly proportioned that we feel at once both what the local colors are in themselves, and what is the color and strength of the light upon them, gives us truth of tone.

-- 19. The perfection of Cuyp in this respect interfered with by numerous solecisms.

For expression of effects of yellow sunlight, parts might be chosen out of the good pictures of Cuyp, which have never been equalled in art. But I much doubt if there be a single _bright_ Cuyp in the world, which, taken as a whole, does not present many glaring solecisms in tone. I have not seen many fine pictures of his, which were not utterly spoiled by the vermilion dress of some princ.i.p.al figure, a vermilion totally unaffected and unwarmed by the golden hue of the rest of the picture; and, what is worse, with little distinction, between its own illumined and shaded parts, so that it appears altogether out of suns.h.i.+ne, the color of a bright vermilion in dead, cold daylight. It is possible that the original color may have gone down in all cases, or that these parts may have been villanously repainted: but I am the rather disposed to believe them genuine, because even throughout the best of his pictures there are evident recurrences of the same kind of solecism in other colors--greens for instance--as in the steep bank on the right of the largest picture in the Dulwich Gallery; and browns, as in the lying cow in the same picture, which is in most visible and painful contrast with the one standing beside it, the flank of the standing one being bathed in breathing suns.h.i.+ne, and the reposing one laid in with as dead, opaque, and lifeless brown as ever came raw from a novice's pallet. And again, in that marked 83, while the figures on the right are walking in the most precious light, and those just beyond them in the distance leave a furlong or two of pure visible sunbeams between us and them, the cows in the centre are entirely deprived, poor things, of both light and air. And these failing parts, though they often escape the eye when we are near the picture and able to dwell upon what is beautiful in it, yet so injure its whole effect that I question if there be many Cuyps in which vivid colors occur, which will not lose their effect, and become cold and flat at a distance of ten or twelve paces, retaining their influence only when the eye is close enough to rest on the right parts without including the whole. Take, for instance, the large one in our National Gallery, seen from the opposite door, where the black cow appears a great deal nearer than the dogs, and the golden tones of the distance look like a sepia drawing rather than like suns.h.i.+ne, owing chiefly to the utter want of aerial grays indicated through them.

-- 20. Turner is not so perfect in parts--far more so in the whole.

Now, there is no instance in the works of Turner of anything so faithful and imitative of suns.h.i.+ne as the best parts of Cuyp; but at the same time, there is not a single vestige of the same kind of solecism. It is true, that in his fondness for color, Turner is in the habit of allowing excessively cold fragments in big warmest pictures; but these are never, observe, warm colors with no light upon them, useless as contrasts while they are discords in the tone; but they are bits of the very coolest tints, partially removed from the general influence, and exquisitely valuable as color, though, with all deference be it spoken, I think them sometimes slightly destructive of what would otherwise be perfect tone.

For instance, the two blue and white stripes on the drifting flag of the Slave s.h.i.+p, are, I think, the least degree too purely cool. I think both the blue and white would be impossible under such a light; and in the same way the white parts of the dress of the Napoleon interfered by their coolness with the perfectly managed warmth of all the rest of the picture. But both these lights are reflexes, and it is nearly impossible to say what tones may be a.s.sumed even by the warmest light reflected from a cool surface; so that we cannot actually convict these parts of falsehood, and though we should have liked the _tone_ of the picture better had they been slightly warmer, we cannot but like the _color_ of the picture better with them as they are; while Cuyp's failing portions are not only evidently and demonstrably false, being in direct light, but are as disagreeable in color as false in tone, and injurious to everything near them. And the best proof of the grammatical accuracy of the tones of Turner is in the perfect and unchanging influence of all his pictures at any distance. We approach only to follow the suns.h.i.+ne into every cranny of the leaf.a.ge, and retire only to feel it diffused over the scene, the whole picture glowing like a sun or star at whatever distance we stand, and lighting the air between us and it; while many even of the best pictures of Claude must be looked close into to be felt, and lose light every foot that we retire. The smallest of the three seaports in the National Gallery is valuable and right in tone when we are close to it; but ten yards off, it is all brick-dust, offensively and evidently false in its whole hue.

-- 21. The power in Turner of uniting a number of tones.

The comparison of Turner with Cuyp and Claude may sound strange in most ears; but this is chiefly because we are not in the habit of a.n.a.lyzing and dwelling upon those difficult and daring pa.s.sages of the modern master which do not at first appeal to our ordinary notions of truth, owing to his habit of uniting two, three, or even more separate tones in the same composition. In this also he strictly follows nature, for wherever climate changes, tone changes, and the climate changes with every 200 feet of elevation, so that the upper clouds are always different in tone from the lower ones, these from the rest of the landscape, and in all probability, some part of the horizon from the rest. And when nature allows this in a high degree, as in her most gorgeous effects she always will, she does not herself impress at once with intensity of tone, as in the deep and quiet yellows of a July evening, but rather with the magnificence and variety of a.s.sociated color, in which, if we give time and attention to it, we shall gradually find the solemnity and the depth of twenty tones instead of one. Now in Turner's power of a.s.sociating cold with warm light, no one has ever approached, or even ventured into the same field with him. The old masters, content with one simple tone, sacrificed to its unity all the exquisite gradations and varied touches of relief and change by which nature unites her hours with each other. They gave the warmth of the sinking sun, overwhelming all things in its gold; but they did not give those gray pa.s.sages about the horizon where, seen through its dying light, the cool and the gloom of night gather themselves for their victory. Whether it was in them impotence or judgment, it is not for me to decide. I have only to point to the daring of Turner in this respect, as something to which art affords no matter of comparison, as that in which the mere attempt is, in itself, superiority. Take the evening effect with the Temeraire. That picture will not, at the first glance, deceive as a piece of actual sunlight; but this is because there is in it more than sunlight, because under the blazing veil of vaulted fire which lights the vessel on her last path, there is a blue, deep, desolate hollow of darkness, out of which you can hear the voice of the night wind, and the dull boom of the disturbed sea; because the cold, deadly shadows of the twilight are gathering through every sunbeam, and moment by moment as you look, you will fancy some new film and faintness of the night has risen over the vastness of the departing form.

-- 22. Recapitulation.

And if, in effects of this kind, time be taken to dwell upon the individual tones, and to study the laws of their reconcilement, there will be found in the recent Academy pictures of this great artist a ma.s.s of various truth to which nothing can be brought for comparison, which stands not only unrivalled, but uncontended with, and which, when in carrying out it may be inferior to some of the picked pa.s.sages of the old masters, is so through deliberate choice rather to suggest a mult.i.tude of truths than to imitate one, and through a strife with difficulties of effect of which art can afford no parallel example. Nay, in the next chapter, respecting color, we shall see farther reason for doubting the truth of Claude, Cuyp, and Poussin, in tone,--reason so palpable that if these were all that were to be contended with, I should scarcely have allowed any inferiority in Turner whatsoever;[18] but I allow it, not so much with reference to the deceptive imitations of sunlight, wrought out with desperate exaggerations of shade, of the professed landscape painters, as with reference to the glory of Rubens, the glow of t.i.tian, the silver tenderness of Cagliari, and perhaps more than all to the precious and pure pa.s.sages of intense feeling and heavenly light, holy and undefiled, and glorious with the changeless pa.s.sion of eternity, which sanctify with their shadeless peace the deep and n.o.ble conceptions of the early school of Italy,--of Fra Bartolomeo, Perugino, and the early mind of Raffaelle.

FOOTNOTES

[16] Of course I am not speaking here of treatment of chiaroscuro, but of that quant.i.ty of depth of shade by which, _coeteris paribus_, a near object will exceed a distant one. For the truth of the systems of Turner and the old masters, as regards chiaroscuro, vide Chapter III. of this Section, -- 8.

[17] More important, observe, _as matters of truth or fact_. It may often chance that, as a matter of feeling, the tone is the more important of the two; but with this we have here no concern.

[18] We must not leave the subject of tone without alluding to the works of the late George Barrett, which afford glorious and exalted pa.s.sages of light; and John Varley, who, though less truthful in his aim, was frequently deep in his feeling. Some of the sketches of De Wint are also admirable in this respect. As for our oil pictures, the less that is said about them the better. Callcott has the truest aim; but not having any eye for color, it is impossible for him to succeed in tone.

CHAPTER II.

OF TRUTH OF COLOR.

-- 1. Observations on the color of G. Poussin's La Riccia.

There is, in the first room of the National Gallery, a landscape attributed to Gaspar Poussin, called sometimes Aricia, sometimes Le or La Riccia, according to the fancy of catalogue printers. Whether it can be supposed to resemble the ancient Aricia, now La Riccia, close to Albano, I will not take upon me to determine, seeing that most of the towns of these old masters are quite as like one place as another; but, at any rate, it is a town on a hill, wooded with two-and-thirty bushes, of very uniform size, and possessing about the same number of leaves each. These bushes are all painted in with one dull opaque brown, becoming very slightly greenish towards the lights, and discover in one place a bit of rock, which of course would in nature have been cool and gray beside the l.u.s.trous hues of foliage, and which, therefore, being moreover completely in shade, is consistently and scientifically painted of a very clear, pretty, and positive brick-red, the only thing like color in the picture. The foreground is a piece of road, which in order to make allowance for its greater nearness, for its being completely in light, and, it may be presumed, for the quant.i.ty of vegetation usually present on carriage-roads, is given in a very cool green gray, and the truth of the picture is completed by a number of dots in the sky on the right, with a stalk to them, of a sober and similar brown.

-- 2. As compared with the actual scene.

Not long ago, I was slowly descending this very bit of carriage-road, the first turn after you leave Albano, not a little impeded by the worthy successors of the ancient prototypes of Veiento.[19] It had been wild weather when I left Rome, and all across the Campagna the clouds were sweeping in sulphurous blue, with a clap of thunder or two, and breaking gleams of sun along the Claudian aqueduct lighting up the infinity of its arches like the bridge of chaos. But as I climbed the long slope of the Alban mount, the storm swept finally to the north, and the n.o.ble outline of the domes of Albano and graceful darkness of its ilex grove rose against pure streaks of alternate blue and amber, the upper sky gradually flus.h.i.+ng through the last fragments of rain-cloud in deep, palpitating azure, half ether and half dew. The noonday sun came slanting down the rocky slopes of La Riccia, and its ma.s.ses of entangled and tall foliage, whose autumnal tints were mixed with the wet verdure of a thousand evergreens, were penetrated with it as with rain. I cannot call it color, it was conflagration. Purple, and crimson, and scarlet, like the curtains of G.o.d's tabernacle, the rejoicing trees sank into the valley in showers of light, every separate leaf quivering with buoyant and burning life; each, as it turned to reflect or to transmit the sunbeam, first a torch and then an emerald. Far up into the recesses of the valley, the green vistas arched like the hollows of mighty waves of some crystalline sea, with the arbutus flowers dashed along their flanks for foam, and silver flakes of orange spray tossed into the air around them, breaking over the gray walls of rock into a thousand separate stars, fading and kindling alternately as the weak wind lifted and let them fall. Every glade of gra.s.s burned like the golden floor of heaven, opening in sudden gleams as the foliage broke and closed above it, as sheet-lightning opens in a cloud at sunset; the motionless ma.s.ses of dark rock--dark though flushed with scarlet lichen,--casting their quiet shadows across its restless radiance, the fountain underneath them filling its marble hollow with blue mist and fitful sound, and over all--the mult.i.tudinous bars of amber and rose, the sacred clouds that have no darkness, and only exist to illumine, were seen in fathomless intervals between the solemn and orbed repose of the stone pines, pa.s.sing to lose themselves in the last, white, blinding l.u.s.tre of the measureless line where the Campagna melted into the blaze of the sea.

-- 3. Turner himself is inferior in brilliancy to nature.

Tell me who is likest this, Poussin or Turner? Not in his most daring and dazzling efforts could Turner himself come near it; but you could not at the time have thought or remembered the work of any other man as having the remotest hue or resemblance of what you saw. Nor am I speaking of what is uncommon or unnatural; there is no climate, no place, and scarcely an hour, in which nature does not exhibit color which no mortal effort can imitate or approach. For all our artificial pigments are, even when seen under the same circ.u.mstances, dead and lightless beside her living color; the green of a growing leaf, the scarlet of a fresh flower, no art nor expedient can reach; but in addition to this, nature exhibits her hues under an intensity of sunlight which trebles their brilliancy, while the painter, deprived of this splendid aid, works still with what is actually a gray shadow compared to the force of nature's color. Take a blade of gra.s.s and a scarlet flower, and place them so as to receive sunlight beside the brightest canvas that ever left Turner's easel, and the picture will be extinguished. So far from out-facing nature, he does not, as far as mere vividness of color goes, one-half reach her;--but does he use this brilliancy of color on objects to which it does not properly belong? Let us compare his works in this respect with a few instances from the old masters.

-- 4. Impossible colors of Salvator, t.i.tian;

There is, on the left hand side of Salvator's Mercury and the Woodman in our National Gallery, something, without doubt intended for a rocky mountain, in the middle distance, near enough for all its fissures and crags to be distinctly visible, or, rather, for a great many awkward scratches of the brush over it to be visible, which, though not particularly representative either of one thing or another, are without doubt intended to be symbolical of rocks. Now no mountain in full light, and near enough for its details of crag to be seen, is without great variety of delicate color. Salvator has painted it throughout without one instant of variation; but this, I suppose, is simplicity and generalization;--let it pa.s.s: but what is the color? _Pure sky blue_, without one grain of gray, or any modifying hue whatsoever;--the same brush which had just given the bluest parts of the sky, has been more loaded at the same part of the pallet, and the whole mountain thrown in with unmitigated ultramarine. Now mountains only can become pure blue when there is so much air between us and them that they become mere flat, dark shades, every detail being totally lost: they become blue when they become air, and not till then. Consequently this part of Salvator's painting, being of hills perfectly clear and near, with all their details visible, is, as far as color is concerned, broad, bold falsehood--the direct a.s.sertion of direct impossibility.

In the whole range of Turner's works, recent or of old date, you will not find an instance of anything near enough to have details visible, painted in sky blue. Wherever Turner gives blue, there he gives atmosphere; it is air, not object. Blue he gives to his sea; so does nature;--blue he gives, sapphire-deep, to his extreme distance; so does nature;--blue he gives to the misty shadows and hollows of his hills; so does nature: but blue he gives _not_, where detail and illumined surface are visible; as he comes into light and character, so he breaks into warmth and varied hue; nor is there in one of his works, and I speak of the Academy pictures especially, one touch of cold color which is not to be accounted for, and proved right and full of meaning.

I do not say that Salvator's distance is not artist-like; both in that, and in the yet more glaringly false distances of t.i.tian above alluded to, and in hundreds of others of equal boldness of exaggeration, I can take delight, and perhaps should be sorry to see them other than they are; but it is somewhat singular to hear people talking of Turner's exquisite care and watchfulness in color as false, while they receive such cases of preposterous and audacious fiction with the most generous and simple credulity.

-- 5. Poussin, and Claude.

Again, in the upper sky of the picture of Nicolas Poussin, before noticed, the clouds are of a very fine clear olive-green, about the same tint as the brightest parts of the trees beneath them. They cannot have altered, (or else the trees must have been painted in gray,) for the hue is harmonious and well united with the rest of the picture, and the blue and white in the centre of the sky are still fresh and pure. Now a green sky in open and illumined distance is very frequent, and very beautiful; but rich olive-green clouds, as far as I am acquainted with nature, are a piece of color in which she is not apt to indulge. You will be puzzled to show me such a thing in the recent works of Turner.[20]

Again, take any important group of trees, I do not care whose--Claude's, Salvator's, or Poussin's--with lateral light (that in the Marriage of Isaac and Rebecca, or Gaspar's sacrifice of Isaac, for instance:) Can it be seriously supposed that those murky browns and melancholy greens are representative of the tints of leaves under full noonday sun? I know that you cannot help looking upon all these pictures as pieces of dark relief against a light wholly proceeding from the distances; but they are nothing of the kind--they are noon and morning effects with full lateral light. Be so kind as to match the color of a leaf in the sun (the darkest you like) as nearly as you can, and bring your matched color and set it beside one of these groups of trees, and take a blade of common gra.s.s, and set it beside any part of the fullest light of their foregrounds, and then talk about the truth of color of the old masters!

And let not arguments respecting the sublimity or fidelity of _impression_ be brought forward here. I have nothing whatever to do with this at present. I am not talking about what is sublime, but about what is true. People attack Turner on this ground;--they never speak of beauty or sublimity with respect to him, but of nature and truth, and let them support their own favorite masters on the same grounds. Perhaps I may have the very deepest veneration for the _feeling_ of the old masters, but I must not let it influence me now--my business is to match colors, not to talk sentiment. Neither let it be said that I am going too much into details, and that general truths may be obtained by local falsehood. Truth is only to be measured by close comparison of actual facts; we may talk forever about it in generals, and prove nothing. We cannot tell what effect falsehood may produce on this or that person, but we can very well tell what is false and what is not, and if it produce on our senses the effect of truth, that only demonstrates their imperfection and inaccuracy, and need of cultivation. Turner's color is glaring to one person's sensations, and beautiful to another's. This proves nothing. Poussin's color is right to one, soot to another. This proves nothing. There is no means of arriving at any conclusion but close comparison of both with the known and demonstrable hues of nature, and this comparison will invariably turn Claude or Poussin into blackness, and even Turner into gray.

Whatever depth of gloom may seem to invest the objects of a real landscape, yet a window with that landscape seen through it, will invariably appear a broad s.p.a.ce of light as compared with the shade of the room walls; and this single circ.u.mstance may prove to us both the intensity and the diffusion of daylight in open air, and the necessity, if a picture is to be truthful in effect of color, that it should tell as a broad s.p.a.ce of graduated illumination--not, as do those of the old masters, as a patch-work of black shades. Their works are nature in mourning weeds,--[Greek: oud hen helio katharo tethrammenoi, all hypo symmigei skia].

-- 6. Turner's translation of colors.

It is true that there are, here and there, in the Academy pictures, pa.s.sages in which Turner has translated the unattainable intensity of one tone of color, into the attainable pitch of a higher one: the golden green for instance, of intense suns.h.i.+ne on verdure, into pure yellow, because he knows it to be impossible, with any mixture of blue whatsoever, to give faithfully its relative intensity of light, and Turner always will have his light and shade right, whatever it costs him in color. But he does this in rare cases, and even then over very small s.p.a.ces; and I should be obliged to his critics if they would go out to some warm, mossy green bank in full summer suns.h.i.+ne, and try to reach its tone; and when they find, as find they will, Indian yellow and chrome look dark beside it, let them tell me candidly which is nearest truth, the gold of Turner, or the mourning and murky olive browns and verdigris greens in which Claude, with the industry and intelligence of a Sevres china painter, drags the laborious bramble leaves over his childish foreground.

-- 7. Notice of effects in which no brilliancy of art can even approach that of reality.

-- 8. Reasons for the usual incredulity of the observer with respect to their representation.

-- 9. Color of the Napoleon.