DOI Page / Citation link:
https://doi.org/10.11588/diglit.1183#0116
COMPOSITION IN PAINTING. 19
gives us a hint of the noise generally attending such brawls. As a moral
is here introduced, I shall make a few remarks (otherwise irrelevant to the
purpose) in this place. When a picture possesses a moral, it is certainly
a great advantage, provided we are not disgusted by its vulgarity, as is
the case in the representations of drunkenness, &c. in some of the Dutch
school, or by affected sentiment, as in many of the present works of all
the schools. The moral must also never injure the picture in its higher
requisites. In the early ages, representations of vice were necessary as
strong lessons of morality; but as mankind grew more enlightened, they
were referred to books, not pictures, for improvement. Besides, an artist
ought always to recollect, that he paints for the higher, not for the lower
classes of men; and as his business is to convey pleasure, not pain, a little
intercourse with society will convince him, that men in all ranks have
often enough to vex them, or to produce a variance with their fellow crea-
tures, without hanging up on their walls representations tending to increase
either the one or the other feeling. The absence of these considerations
in an artist (of which we see daily proofs) dooms his works to that neglect
which he ascribes to the want of encouragement to the arts generally.
Representations of tragical events also (though possessing a fine moral or
sentiment) have received but little patronage in this country; whether it
is that they are not suited to the character of the nation, who, though not
averse to the representation of a tragedy on the stage, are unwilling to
choose a constant companion from such a class, or that there are few of
those connoisseurs whose feelings are completely absorbed in the contem-
plation of high art, is a question which this is not the proper place to
discuss : the fact is, however, indisputable.
Plate III. Jig. 6. As this composition consists of a single figure, I
shall notice here the method Metzu has taken to render it a part of the
whole, especially as we shall have to refer to other plates, when we come
to treat of light and shade, and colour. The figure is dressed in black and
white, coming in contact and contrast in the strongest manner; the black
gives us a hint of the noise generally attending such brawls. As a moral
is here introduced, I shall make a few remarks (otherwise irrelevant to the
purpose) in this place. When a picture possesses a moral, it is certainly
a great advantage, provided we are not disgusted by its vulgarity, as is
the case in the representations of drunkenness, &c. in some of the Dutch
school, or by affected sentiment, as in many of the present works of all
the schools. The moral must also never injure the picture in its higher
requisites. In the early ages, representations of vice were necessary as
strong lessons of morality; but as mankind grew more enlightened, they
were referred to books, not pictures, for improvement. Besides, an artist
ought always to recollect, that he paints for the higher, not for the lower
classes of men; and as his business is to convey pleasure, not pain, a little
intercourse with society will convince him, that men in all ranks have
often enough to vex them, or to produce a variance with their fellow crea-
tures, without hanging up on their walls representations tending to increase
either the one or the other feeling. The absence of these considerations
in an artist (of which we see daily proofs) dooms his works to that neglect
which he ascribes to the want of encouragement to the arts generally.
Representations of tragical events also (though possessing a fine moral or
sentiment) have received but little patronage in this country; whether it
is that they are not suited to the character of the nation, who, though not
averse to the representation of a tragedy on the stage, are unwilling to
choose a constant companion from such a class, or that there are few of
those connoisseurs whose feelings are completely absorbed in the contem-
plation of high art, is a question which this is not the proper place to
discuss : the fact is, however, indisputable.
Plate III. Jig. 6. As this composition consists of a single figure, I
shall notice here the method Metzu has taken to render it a part of the
whole, especially as we shall have to refer to other plates, when we come
to treat of light and shade, and colour. The figure is dressed in black and
white, coming in contact and contrast in the strongest manner; the black