DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68796#0323
CHAP. Ill
Summary
3°3
right slice of things taken where they were nearest to him,
but Nature as a whole ; that the picture should be no mere
transcript of objects against a flat background, but rather
an enchanted mirror in which should be reflected space
beyond space in infinite recession. To accomplish this,
drawing was not sufficient without the help of light-and-
shade. But light-and-shade, crudely juxtaposed in sharp
contrast, gave force to delineation but no help towards
aerial perspective. For this there had rather to be noted
the almost imperceptible transitions of tone as objects re-
ceded from the eye of the spectator. These transitions are
however equally subtle in near objects according to the
varying angles at which their surfaces catch the light, and
it was by the fine observations of Leonardo and his followers
of the tones of near objects that the way was prepared for a
broad and free treatment of light-and-shade over the whole
face of Nature. This the Italians if left to themselves might
never have accomplished, for they loved light and were
taught through long tradition to value above all things the
clear delineation of objects worthy to be seen. The Northern
artists who could never have portrayed things so beautifully
as the Italians, had on the other hand a distinct feeling for
mystery, and a tolerance for an obscurity full of poetical
suggestion, such as would always scandalise the Southern.
Hence Rembrandt with his mist and darkness took away
from the forms of things their old importance and enabled
the artist to generalise to an extent before unknown. Subtle
observation of tone and comparative carelessness of definite
delineation combined to make aerial perspective in the
broadest sense a possibility for art, while at the same time
light and shade emancipated from objects become in them-
selves elements of an artistic composition. So, finally, the
distances of the world, once filled full by a Carpaccio with
delightful but unnecessary little objects, passed under the
Summary
3°3
right slice of things taken where they were nearest to him,
but Nature as a whole ; that the picture should be no mere
transcript of objects against a flat background, but rather
an enchanted mirror in which should be reflected space
beyond space in infinite recession. To accomplish this,
drawing was not sufficient without the help of light-and-
shade. But light-and-shade, crudely juxtaposed in sharp
contrast, gave force to delineation but no help towards
aerial perspective. For this there had rather to be noted
the almost imperceptible transitions of tone as objects re-
ceded from the eye of the spectator. These transitions are
however equally subtle in near objects according to the
varying angles at which their surfaces catch the light, and
it was by the fine observations of Leonardo and his followers
of the tones of near objects that the way was prepared for a
broad and free treatment of light-and-shade over the whole
face of Nature. This the Italians if left to themselves might
never have accomplished, for they loved light and were
taught through long tradition to value above all things the
clear delineation of objects worthy to be seen. The Northern
artists who could never have portrayed things so beautifully
as the Italians, had on the other hand a distinct feeling for
mystery, and a tolerance for an obscurity full of poetical
suggestion, such as would always scandalise the Southern.
Hence Rembrandt with his mist and darkness took away
from the forms of things their old importance and enabled
the artist to generalise to an extent before unknown. Subtle
observation of tone and comparative carelessness of definite
delineation combined to make aerial perspective in the
broadest sense a possibility for art, while at the same time
light and shade emancipated from objects become in them-
selves elements of an artistic composition. So, finally, the
distances of the world, once filled full by a Carpaccio with
delightful but unnecessary little objects, passed under the