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seven discourses on art(艺术七讲座)-第5部分

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extensive   will   be   your   powers   of   invention;   and   what   may   appear   still 

more like a paradox; the more original will be your conceptions。                      But the 

difficulty  on   this   occasion   is   to   determine   who   ought   to   be   proposed   as 

models   of   excellence;   and   who   ought   to   be   considered   as   the   properest 



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                                SEVEN DISCOURSES ON ART 



guides。 

     To a young man just arrived in Italy; many of the present painters of 

that country are ready enough to obtrude their precepts; and to offer their 

own   performances   as   examples   of   that   perfection   which   they   affect   to 

recommend。          The   modern;   however;   who   recommends   HIMSELF   as   a 

standard;      may    justly   be   suspected     as   ignorant     of  the   true   end;   and 

unacquainted   with   the   proper   object   of   the   art   which   he   professes。      To 

follow such a guide will not only retard the student; but mislead him。 

     On whom; then; can he rely; or who shall show him the path that leads 

to excellence?        The answer is obvious:            Those great masters who have 

travelled the same road with success are the most likely to conduct others。 

The works of those who have stood the test of ages have a claim to that 

respect   and   veneration   to   which   no   modern   can   pretend。         The   duration 

and   stability   of   their   fame   is   sufficient   to   evince   that   it   has   not   been 

suspended upon the slender thread of fashion and caprice; but bound to the 

human heart by every tie of sympathetic approbation。 

     There is no danger of studying too much the works of those great men; 

but    how     they   may     be   studied    to  advantage      is  an    inquiry    of  great 

importance。 

     Some   who   have   never   raised   their   minds   to   the   consideration   of   the 

real dignity of the art; and who rate the works of an artist in proportion as 

they   excel;   or   are   defective   in   the   mechanical   parts;   look   on   theory   as 

something       that   may    enable    them    to  talk   but   not  to   paint   better;  and 

confining themselves entirely to mechanical practice; very assiduously toil 

on in the drudgery of copying; and think they make a rapid progress while 

they    faithfully    exhibit   the   minutest     part  of   a  favourite    picture。    This 

appears   to   me   a   very   tedious;   and   I   think   a   very   erroneous;   method   of 

proceeding。       Of every  large   composition;   even of   those   which   are   most 

admired;      a  great   part   may    be   truly   said  to   be  common…place。         This; 

though it takes up much time in copying; conduces little to improvement。 

I   consider   general   copying   as   a   delusive   kind   of   industry;   the   student 

satisfies himself with the appearance of doing something; he falls into the 

dangerous habit   of  imitating   without selecting;  and   of labouring   without 

any determinate object; as it requires no effort of the mind; he sleeps over 



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                                SEVEN DISCOURSES ON ART 



his   work;   and   those   powers   of   invention   and   composition   which   ought 

particularly   to   be   called   out   and   put   in   action   lie   torpid;   and   lose   their 

energy for want of exercise。 

     It is an observation that all must have made; how incapable those are 

of producing anything of their own who have spent much of their time in 

making finished copies。 

     To    suppose     that   the  complication       of  powers;     and   variety   of   ideas 

necessary   to   that   mind   which   aspires   to   the   first   honours   ill   the   art   of 

painting;   can   be   obtained   by   the   frigid   contemplation   of   a   few   single 

models; is no less absurd than it would be in him who wishes to be a poet 

to imagine that by translating a tragedy he can acquire to himself sufficient 

knowledge   of   the   appearances   of   nature;   the   operations   of   the   passions; 

and the incidents of life。 

     The great use in   copying; if it be   at all useful; should seem to be in 

learning to colour; yet even colouring will never be perfectly attained by 

servilely copying the mould before you。                 An eye critically nice can only 

be   formed   by   observing   well…coloured   pictures   with   attention:             and   by 

close   inspection;   and   minute   examination   you   will   discover;   at   last;   the 

manner of handling; the artifices of contrast; glazing; and other expedients; 

by which good colourists have raised the value of their tints; and by which 

nature has been so happily imitated。 

     I must inform you; however; that old pictures deservedly celebrated for 

their colouring are often so changed by dirt and varnish; that we ought not 

to   wonder   if   they   do   not   appear   equal   to   their   reputation   in   the   eyes   of 

unexperienced painters; or young students。                  An artist whose judgment is 

matured by long observation; considers rather what the picture once was; 

than what it is at present。         He has acquired a power by habit of seeing the 

brilliancy of   tints through   the cloud   by which   it is   obscured。             An   exact 

imitation;   therefore;   of   those   pictures;   is   likely  to   fill   the   student's   mind 

with false opinions; and to send him back a colourist of his own formation; 

with   ideas   equally   remote   from   nature   and   from   art;   from   the   genuine 

practice of the masters and the real appearances of things。 

     Following   these   rules;   and   using   these   precautions;   when   you   have 

clearly and distinctly learned in what good colouring consists; you cannot 



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                                SEVEN DISCOURSES ON ART 



do better than have recourse to nature herself; who is always at hand; and 

in comparison of whose true splendour the best coloured pictures are but 

faint and feeble。 

     However;   as   the   practice   of   copying   is   not   entirely   to   be   excluded; 

since the mechanical practice of painting is learned in some measure by it; 

let those choice parts only be selected which have recommended the work 

to   notice。    If   its   excellence   consists   in   its   general   effect;   it   would   be 

proper to make slight sketches of the machinery and general management 

of   the   picture。    Those   sketches   should   be   kept   always   by   you   for   the 

regulation   of   your   style。   Instead   of   copying   the   touches   of   those   great 

masters;      copy    only    their   conceptions。       Instead     of   treading    in   their 

footsteps;   endeavour   only   to   keep   the   same   road。       Labour   to   invent   on 

their general principles and way of thinking。                Possess yourself with their 

spirit。    Consider      with   yourself    how     a  Michael     Angelo     or  a  Raffaelle 

would have treated this subject:            and work yourself into a belief that your 

picture   is   to   be   seen   and   criticised   by   them   when   completed。     Even   an 

attempt of this kind will rouse your powers。 

     But    as   mere    enthusiasm      will   carry    you   but   a   little  way;   let  me 

recommend   a   practice   that   may   be   equivalent;   and   will   perhaps   more 

efficaciously       contribute     to  your    advancement;        than    even    the   verbal 

corrections   of those  masters themselves;  could   they  be   obtained。 What   I 

would   propose   is;   that   you   should   enter   into   a   kind   of   competition;   by 

painting a similar subject; and making a companion to any picture that you 

consider as a model。         After you have finished your work; place it near the 

model; and compare them carefully together。                  You will then not only see; 

but   feel   your   own   deficiencies   more   sensibly   than   by   precepts;   or   any 

other   means   of   instruction。      The true   principles of   painting   will   mingle 

with your thoughts。          Ideas thus fixed by sensible objects; will be certain 

and definitive; and sinking deep into the mind; will not only be more just; 

but   more   lasting   than   those   presented   to   you   by   precepts   only:      which 

will; always be fleeting; variable; and undetermined。 

     This method of comparing your own efforts with those of some great 

master; is indeed a severe and mortifying task; to which none will submit; 

but    such   as   have    great   views; 
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