DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18734#0119
MAN in
Manner, in painting, may be confidered as equiva-
lent to manner or ftyle in writing : thus the manner of
Cicero or Demosthenes are as proper, as the man-
ners of Raphaelle or Titian.
To form a manner, and to be a rnanneriff, are two
diftincf. articles. Although an artift propofes to him-
felf to imitate nature, and nature has no manner, yet by
that peculiarity of feeing nature, which is proper to him-
felf, he will actually acquire a correfponding method of
imitating thofe effects, which he is perpetually infpect-
ing : Whereas a mannerift, not only quits nature and
truth, but alfo repeats himfelf, not nature, in his produc-
tions : as if all his objects were caft in the fame mould,
nor varied in their appropriate characters or colours.
In the couffe of an artift'* works, it is ufual to dif-
tinguifh three manners : firjfi that acquired while under
tuition : which ordinarily remains a long time, as being
powerful imprefiions, made in youth, and ftrengthened
by that refpeci with which young perfons furvey the pro-
ductions of their matters. If the manner of the mafter
is good, it is infinitely happy for the pupil ; if bad, he
has two difficult things to perform, firft to relinquifh a
bad manner, fecondly to acquire a good one ; in reference
to this difficulty, the Italians often fay, " young man, if
you knew nothing, you would foon know fomething."
Thefecond manner of a mafter is, that which he forms
to himfelf as the refult of mature reflection, ftudy, and
judgment, wherein his abilities having attained a ripenefs,
and fufficiency, he is able to depend on his own talents;
and this is ufually the bell: Time of an artift; he produces
his
Manner, in painting, may be confidered as equiva-
lent to manner or ftyle in writing : thus the manner of
Cicero or Demosthenes are as proper, as the man-
ners of Raphaelle or Titian.
To form a manner, and to be a rnanneriff, are two
diftincf. articles. Although an artift propofes to him-
felf to imitate nature, and nature has no manner, yet by
that peculiarity of feeing nature, which is proper to him-
felf, he will actually acquire a correfponding method of
imitating thofe effects, which he is perpetually infpect-
ing : Whereas a mannerift, not only quits nature and
truth, but alfo repeats himfelf, not nature, in his produc-
tions : as if all his objects were caft in the fame mould,
nor varied in their appropriate characters or colours.
In the couffe of an artift'* works, it is ufual to dif-
tinguifh three manners : firjfi that acquired while under
tuition : which ordinarily remains a long time, as being
powerful imprefiions, made in youth, and ftrengthened
by that refpeci with which young perfons furvey the pro-
ductions of their matters. If the manner of the mafter
is good, it is infinitely happy for the pupil ; if bad, he
has two difficult things to perform, firft to relinquifh a
bad manner, fecondly to acquire a good one ; in reference
to this difficulty, the Italians often fay, " young man, if
you knew nothing, you would foon know fomething."
Thefecond manner of a mafter is, that which he forms
to himfelf as the refult of mature reflection, ftudy, and
judgment, wherein his abilities having attained a ripenefs,
and fufficiency, he is able to depend on his own talents;
and this is ufually the bell: Time of an artift; he produces
his