Modern Painters Volume I Part 35

Suppose a s.p.a.ce of clear water showing the bottom under a group of trees, showing sky through their branches, casting shadows on the surface of the water, which we will suppose also to possess some color of its own. Close to us, we shall see the bottom, with the shadows of the trees clearly thrown upon it, and the color of the water seen in its genuineness by transmitted light. Farther off, the bottom will be gradually lost sight of, but it will be seen in the dark reflections much farther than in the light ones. At last it ceases to affect even the former, and the pure surface effect takes place. The blue bright sky is reflected truly, but the dark trees are reflected imperfectly, and the color of the water is seen instead. Where the shadow falls on these dark reflections a darkness is seen plainly, which is found to be composed of the pure clear reflection of the dark trees; when it crosses the reflection of the sky, the shadow of course, being thus fict.i.tious, vanishes.

Farther, of course on whatever dust and other foulness may be present in water, real shadow falls clear and dark in proportion to the quant.i.ty of solid substance present. On very muddy rivers, real shadow falls in sunlight nearly as sharply as on land; on our own sea, the apparent shadow caused by increased reflection, is much increased in depth by the chalkiness and impurity of the water.

Farther, when surface is rippled, every ripple, up to a certain variable distance on each side of the spectator, and at a certain angle between him and the sun, varying with the size and shape of the ripples, reflects to him a small image of the sun. Hence those dazzling fields of expanding light so often seen upon the sea.

Any object that comes between the sun and these ripples, takes from them the power of reflecting the sun, and in consequence, all their light; hence any intervening objects cast apparent shadows upon such s.p.a.ces of intense force, and of the exact shape, and in the exact place of real shadows, and yet which are no more real shadows than the withdrawal of an image of a piece of white paper from a mirror is a shadow on the mirror. Farther, in all shallow water, more or less in proportion to its shallowness, but in some measure, I suppose, up to depths of forty or fifty fathoms, and perhaps more, the local color of the water depends in great measure on light reflected from the bottom. This, however, is especially manifest in clear rivers like the Rhone, where the absence of the light reflected from below forms an apparent shadow, often visibly detached some distance from the floating object which casts it.

-- 10. Examples on the water of the Rhone.

The following extract from my own diary at Geneva, with the subsequent one, which is a continuation of that already given in part at Venice, will ill.u.s.trate both this and the other points we have been stating.

"GENEVA, _21st April, Morning._

"The sunlight falls from the cypresses of Rousseau's island straight towards the bridge. The shadows of the bridge and of the trees fall on the water in leaden purple, opposed to its general hue of aquamarine green. This green color is caused by the light being reflected from the bottom, though the bottom is not seen; as is evident by its becoming paler towards the middle of the river, where the water shoals, on which pale part the purple shadow of the small bridge falls most forcibly, which shadow, however, is still only apparent, being the absence of this reflected light, a.s.sociated with the increased reflective power of the water, which in those s.p.a.ces reflects blue sky above. A boat swings in the shoal water; its reflection is cast in a transparent pea-green, which is considerably darker than the pale aquamarine of the surface at the spot. Its shadow is detached from it just about half the depth of the reflection; which, therefore, forms a bright green light between the keel of the boat and its shadow; where the shadow cuts the reflection, the reflection is darkest and something like the true color of the boat; where the shadow falls out of the reflection, it is of a leaden purple, pale. The boat is at an angle of about 20 below. Another boat nearer, in deeper water, shows no shadow, whatsoever, and the reflection is marked by its transparent green, while the surrounding water takes a lightish blue reflection from the sky."

The above notes, after what has been said, require no comment; but one more case must be stated belonging to rough water. Every large wave of the sea is in ordinary circ.u.mstances divided into, or rather covered by, innumerable smaller waves, each of which, in all probability, from some of its edges or surfaces reflects the sunbeams; and hence result a glitter, polish, and vigorous light over the whole flank of the wave, which are, of course, instantly withdrawn within the s.p.a.ce of a cast shadow, whose form, therefore, though it does not affect the great body or ground of the water in the least, is sufficiently traceable by the withdrawal of the high lights; also every string and wreath of foam above or within the wave takes real shadow, and thus adds to the impression.

I have not stated one-half of the circ.u.mstances which produce or influence effects of shadow on water; but lest I should confuse or weary the reader, I leave him to pursue the subject for himself; enough having been stated to establish this general principle, that whenever shadow is seen on clear water, and, in a measure, even on foul water, it is not, as on land, a dark shade subduing where it falls the sunny general hue to a lower tone; but it is a s.p.a.ce of an entirely different color, subject itself, by its susceptibility of reflection, to infinite varieties of depth and hue, and liable, under certain circ.u.mstances, to disappear altogether; and that, therefore, whenever we have to paint such shadows, it is not only the hue of the water itself that we have to consider, but all the circ.u.mstances by which in the position attributed to them such shaded s.p.a.ces could be affected.

-- 11. Effect of ripple on distant water.

Fourth: If water be rippled, the side of every ripple next to us reflects a piece of the sky, and the side of every ripple farthest from us reflects a piece of the opposite sh.o.r.e, or of whatever objects may be beyond the ripple. But as we soon lose sight of the farther sides of the ripples on the retiring surface, the whole rippled s.p.a.ce will then be reflective of the sky only. Thus, where calm distant water receives reflections of high sh.o.r.es, every extent of rippled surface appears as a bright line interrupting that reflection with the color of the sky.

-- 12. Elongation of reflections by moving water.

Fifth: When a ripple or swell is seen at such an angle as to afford a view of its farther side, it carries the reflection of objects farther down than calm water would. Therefore all motion in water elongates reflections, and throws them into confused vertical lines. The real amount of this elongation is not distinctly visible, except in the case of very bright objects, and especially of lights, as of the sun, moon, or lamps by a river sh.o.r.e, whose reflections are hardly ever seen as circles or points, which of course they are on perfectly calm water, but as long streams of tremulous light.

But it is strange that while we are constantly in the habit of seeing the reflection of the sun, which ought to be a mere circle, elongated into a stream of light extending from the horizon to the sh.o.r.e, the elongation of the reflection of a sail or other object to one-half of this extent is received, if represented in a picture, with incredulity by the greater number of spectators. In one of Turner's Venices the image of the white lateen-sails of the princ.i.p.al boat is about twice as long as the sails themselves. I have heard the truth of this simple effect disputed over and over again by intelligent persons, and yet on any water so exposed as the lagoons of Venice, the periods are few and short when there is so little motion as that the reflection of sails a mile off shall not affect the swell within six feet of the spectator.

There is, however, a strange arbitrariness about this elongation of reflection, which prevents it from being truly felt. If we see on an extent of lightly swelling water surface the image of a bank of white clouds, with ma.s.ses of higher acc.u.mulation at intervals, the water will not usually reflect the whole bank in an elongated form, but it will commonly take the eminent parts, and reflect them in long straight columns of defined breadth, and miss the intermediate lower parts altogether; and even in doing this it will be capricious, for it will take one eminence, and miss another, with no apparent reason; and often when the sky is covered with white clouds, some of those clouds will cast long tower-like reflections, and others none, so arbitrarily that the spectator is often puzzled to find out which are the accepted and which the refused.

In many cases of this kind it will be found rather that the eye is, from want of use and care, insensible to the reflection than that the reflection is not there; and a little thought and careful observation will show us that what we commonly suppose to be a surface of uniform color is, indeed, affected more or less by an infinite variety of hues, prolonged, like the sun image, from a great distance, and that our apprehension of its l.u.s.tre, purity, and even of its surface, is in no small degree dependent on our feeling of these mult.i.tudinous hues, which the continual motion of that surface prevents us from a.n.a.lyzing or understanding for what they are.

-- 13. Effect of rippled water on horizontal and inclined images.

Sixth: Rippled water, of which we can see the farther side of the waves, will reflect a perpendicular line clearly, a bit of its length being given on the side of each wave, and easily joined by the eye. But if the line slope, its reflection will be excessively confused and disjointed; and if horizontal, nearly invisible. It was this circ.u.mstance which prevented the red and white stripe of the s.h.i.+ps at Venice, noticed above, from being visible.

-- 14. To what extent reflection is visible from above.

Seventh: Every reflection is the image in reverse of just so much of the objects beside the water, as we could see if we were placed as much under the level of the water as we are actually above it. If an object be so far back from the bank, that if we were five feet under the water level we could not see it over the bank, then, standing five feet above the water, we shall not be able to see its image under the reflected bank. Hence the reflection of all objects that have any slope back from the water is shortened, and at last disappears as we rise above it.

Lakes seen from a great height appear like plates of metal set in the landscape, reflecting the sky but none of their sh.o.r.es.

-- 15. Deflection of images on agitated water.

Eighth: Any given point of the object above the water is reflected, if reflected at all, at some spot in a vertical line beneath it, so long as the plane of the water is horizontal. On rippled water a slight deflection sometimes takes place, and the image of a vertical tower will slope a little away from the wind, owing to the casting of the image on the sloping sides of the ripples. On the sloping sides of large waves the deflection is in proportion to the slope. For rough practice, after the slope of the wave is determined, let the artist turn his paper until it becomes horizontal, and then paint the reflections of any object upon it as on level water, and he will be right.

-- 16. Necessity of watchfulness as well as of science.

Licenses, how taken by great men.

Such are the most common and general optical laws which are to be taken into consideration in the painting of water. Yet, in the application of them, as tests of good or bad water painting, we must be cautious in the extreme. An artist may know all these laws, and comply with them, and yet paint water execrably; and he may be ignorant of every one of them, and, in their turn, and in certain places, violate every one of them, and yet paint water gloriously. Thousands of exquisite effects take place in nature, utterly inexplicable, and which can be believed only while they are seen; the combinations and applications of the above laws are so varied and complicated that no knowledge or labor could, if applied a.n.a.lytically, keep pace with them. Constant and eager watchfulness, and portfolios filled with actual statements of water-effect, drawn on the spot and on the instant, are worth more to the painter than the most extended optical knowledge; without these all his knowledge will end in a pedantic falsehood. With these it does not matter how gross or how daring here and there may be his violations of this or that law; his very transgressions will be admirable.

It may be said, that this is a dangerous principle to advance in these days of idleness. I cannot help it; it is true, and must be affirmed.

Of all contemptible criticism, the most to be contemned is that which punishes great works of art when they fight without armor, and refuses to feel or acknowledge the great spiritual refracted sun of their truth, because it has risen at a false angle, and burst upon them before its appointed time. And yet, on the other hand, let it be observed that it is not feeling, nor fancy, nor imagination, so called, that I have put before science, but watchfulness, experience, affection and trust in nature; and farther let it be observed, that there is a difference between the license taken by one man and another, which makes one license admirable, and the other punishable; and that this difference is of a kind sufficiently discernible by every earnest person, though it is not so explicable as that we can beforehand say where and when, or even to whom, the license is to be forgiven. In the Paradise of Tintoret, in the Academy of Venice, the Angel is seen in the distance driving Adam and Eve out of the garden. Not, for Tintoret, the leading to the gate with consolation or counsel; his strange ardor of conception is seen here as everywhere. Full speed they fly, the angel and the human creatures; the angel wrapt in an orb of light floats on, stooped forward in his fierce flight, and does not touch the ground; the chastised creatures rush before him in abandoned terror. All this might have been invented by another, though in other hands it would a.s.suredly have been offensive; but one circ.u.mstance which completes the story could have been thought of or dared by none but Tintoret. The Angel casts a SHADOW before him towards Adam and Eve.

Now that a globe of light should cast a shadow is a license, as far as mere optical matters are concerned, of the most audacious kind. But how beautiful is the circ.u.mstance in its application here, showing that the angel, who is light to all else around him, is darkness to those whom he is commissioned to banish forever.

I have before noticed the license of Rubens in making his horizon an oblique line. His object is to carry the eye to a given point in the distance. The road winds to it, the clouds fly at it, the trees nod to it, a flock of sheep scamper towards it, a carter points his whip at it, his horses pull for it, the figures push for it, and the horizon slopes to it. If the horizon had been horizontal, it would have embarra.s.sed everything and everybody.

In Turner's Pas de Calais there is a buoy poised on the ridge of a near wave. It casts its reflection vertically down the flank of the wave, which slopes steeply. I cannot tell whether this is a license or a mistake; I suspect the latter, for the same thing occurs not unfrequently in Turner's seas; but I am almost certain that it would have been done wilfully in this case, even had the mistake been pointed out, for the vertical line is necessary to the picture, and the eye is so little accustomed to catch the real bearing of the reflections on the slopes of waves that it does not feel the fault.

-- 17. Various licenses or errors in water painting of Claude, Cuyp, Vandevelde.

In one of the smaller rooms of the Uffizii at Florence, off the Tribune, there are two so-called Claudes; one a pretty wooded landscape, I think a copy, the other a marine with architecture, very sweet and genuine.

The sun is setting at the side of the picture, it casts a long stream of light upon the water. This stream of light is oblique, and comes from the horizon, where it is under the sun, to a point near the centre of the picture. If this had been done as a license, it would be an instance of most absurd and unjustifiable license, as the fault is detected by the eye in a moment, and there is no occasion nor excuse for it. But I imagine it to be an instance rather of the harm of imperfect science.

Taking his impression instinctively from nature, Claude usually did what is right and put his reflection vertically under the sun; probably, however, he had read in some treatise on optics that every point in this reflection was in a vertical plane between the sun and spectator; or he might have noticed walking on the sh.o.r.e that the reflection came straight from the sun to his feet, and intending to indicate the position of the spectator, drew in his next picture the reflection sloping to the supposed point, the error being excusable enough, and plausible enough to have been lately revived and systematized.[62]

In the picture of Cuyp, No. 83 in the Dulwich Gallery, the post at the end of the bank casts three or four radiating reflections. This is visibly neither license nor half science, but pure ignorance. Again, in the picture attributed to Paul Potter, No. 176, Dulwich Gallery, I believe most people must feel, the moment they look at it, that there is something wrong with the water, that it looks odd, and hard, and like ice or lead; and though they may not be able to tell the reason of the impression--for when they go near they will find it smooth and l.u.s.trous, and prettily painted--yet they will not be able to shake off the unpleasant sense of its being like a plate of bad mirror set in a model landscape among moss, rather than like a pond. The reason is, that while this water receives clear reflections from the fence and hedge on the left, and is everywhere smooth and evidently capable of giving true images, it yet reflects none of the cows.

In the Vandevelde (113) there is not a line of ripple or swell in any part of the sea; it is absolutely windless, and the near boat casts its image with great fidelity, which being unprolonged downwards informs us that the calm is perfect, (Rule V.,) and being unshortened informs us that we are on a level with the water, or nearly so. (Rule VII.) Yet underneath the vessel on the right, the gray shade which stands for reflection breaks off immediately, descending like smoke a little way below the hull, then leaving the masts and sails entirely unrecorded.

This I imagine to be not ignorance, but unjustifiable license.

Vandevelde evidently desired to give an impression of great extent of surface, and thought that if he gave the reflection more faithfully, as the tops of the masts would come down to the nearest part of the surface, they would destroy the evidence of distance, and appear to set the s.h.i.+p above the boat instead of beyond it. I doubt not in such awkward hands that such would indeed have been the case, but he is not on that account to be excused for painting his surface with gray horizontal lines, as is done by nautically-disposed children; for no destruction of distance in the ocean is so serious a loss as that of its liquidity. It is better to feel a want of extent in the sea, than an extent which we might walk upon or play at billiards upon.

-- 18. And Ca.n.a.letto.

Among all the pictures of Ca.n.a.letto, which I have ever seen, and they are not a few, I remember but one or two where there is any variation from one method of treatment of the water. He almost always covers the whole s.p.a.ce of it with one monotonous ripple, composed of a coat of well-chosen, but perfectly opaque and smooth sea-green, covered with a certain number, I cannot state the exact average, but it varies from three hundred and fifty to four hundred and upwards, according to the extent of canvas to be covered, of white concave touches, which are very properly symbolical of ripple.

And, as the ca.n.a.l retires back from the eye, he very geometrically diminishes the size of his ripples, until he arrives at an even field of apparently smooth water. By our sixth rule, this rippling water as it retires should show more and more of the reflection of the sky above it, and less and less of that of objects beyond it, until, at two or three hundred yards down the ca.n.a.l, the whole field of water should be one even gray or blue, the color of the sky receiving no reflections whatever of other objects. What does Ca.n.a.letto do? Exactly in proportion as he retires, he displays _more_ and _more_ of the reflection of objects, and less and less of the sky, until, three hundred yards away, all the houses are reflected as clear and sharp as in a quiet lake.

This, again, is wilful and inexcusable violation of truth, of which the reason, as in the last case, is the painter's consciousness of weakness.

It is one of the most difficult things in the world to express the light reflection of the blue sky on a distant ripple, and to make the eye understand the cause of the color, and the motion of the apparently smooth water, especially where there are buildings above to be reflected, for the eye never understands the want of the reflection. But it is the easiest and most agreeable thing in the world to give the inverted image: it occupies a vast s.p.a.ce of otherwise troublesome distance in the simplest way possible, and is understood by the eye at once. Hence Ca.n.a.letto is glad, as any other inferior workman would be, not to say obliged, to give the reflections in the distance. But when he comes up close to the spectator, he finds the smooth surface just as troublesome near, as the ripple would have been far off. It is a very nervous thing for an ignorant artist to have a great s.p.a.ce of vacant smooth water to deal with, close to him, too far down to take reflections from buildings, and yet which must be made to look flat and retiring and transparent. Ca.n.a.letto, with his sea-green, did not at all feel himself equal to anything of this kind, and had therefore no resource but in the white touches above described, which occupy the alarming s.p.a.ce without any troublesome necessity for knowledge or invention, and supply by their gradual diminution some means of expressing retirement of surface. It is easily understood, therefore, why he should adopt this system, which is just what any awkward workman would naturally cling to, trusting to the inaccuracy of observation of the public to secure him from detection.

-- 19. Why unpardonable.

Now in all these cases it is not the mistake or the license itself, it is not the infringement of this or that law which condemns the picture, but it is the spirit and habit of mind in which the license is taken, the cowardice or bluntness of feeling, which infects every part alike, and deprives the whole picture of vitality. Ca.n.a.letto, had he been a great painter, might have cast his reflections wherever he chose, and rippled the water wherever he chose, and painted his sea sloping if he chose, and neither I nor any one else should have dared to say a word against him; but he is a little and a bad painter, and so continues everywhere multiplying and magnifying mistakes, and adding apathy to error, until nothing can any more be pardoned in him. If it be but remembered that every one of the surfaces of those mult.i.tudinous ripples is in nature a mirror which catches, according to its position, either the image of the sky or of the silver beaks of the gondolas, or of their black bodies and scarlet draperies, or of the white marble, or the green sea-weed on the low stones, it cannot but be felt that those waves would have something more of color upon them than that opaque dead green.

Green they are by their own nature, but it is a transparent and emerald hue, mixing itself with the thousand reflected tints without overpowering the weakest of them; and thus, in every one of those individual waves, the truths of color are contradicted by Ca.n.a.letto by the thousand.

Venice is sad and silent now, to what she was in his time; the ca.n.a.ls are choked gradually one by one, and the foul water laps more and more sluggishly against the rent foundations; but even yet, could I but place the reader at the early morning on the quay below the Rialto, when the market boats, full laden, float into groups of golden color, and let him watch the das.h.i.+ng of the water about their glittering steely heads, and under the shadows of the vine leaves, and show him the purple of the grapes and the figs, and the glowing of the scarlet gourds carried away in long streams upon the waves, and among them, the crimson fish baskets, plas.h.i.+ng and sparkling, and flaming as the morning sun falls on their wet tawny sides, and above, the painted sails of the fis.h.i.+ng boats, orange and white, scarlet and blue, and better than all such florid color, the naked, bronzed, burning limbs of the seamen, the last of the old Venetian race, who yet keep the right Giorgione color on their brows and bosoms, in strange contrast with the sallow sensual degradation of the creatures that live in the cafes of the Piazza, he would not be merciful to Ca.n.a.letto any more.