DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0139
SCHOOLS OF PAINTING.
125
the best model for what is called style in painting:—i( Lodovico Carracci (I mean in his best
works) appears to me to approach the nearest to perfection ; his unaffected breadth of light and
shadow, the simplicity of colouring which, holding its proper rank, does not draw aside the least
part of the attention from the subject; and the solemn effect of that twilight which seems dif-
fused over his pictures, appears to me to correspond with grave and dignified subjects, better
than the more artificial brilliancy of sunshine which enlightens the pictures of Titian." Lewis,
it is true, had less fire but more gracefulness and grandeur than the other. Au«ustine was a
man of enlightened mind, and consequently refined taste. He cultivated his understanding by
his attention to the Belles Lettres, and devoted part of his time to poetry and music; and at the
same time to dancing riding and other manly exercises. He possessed a great and vigorous spirit,
which he always displayed in his pictures j and discovers in them a certain pleasantness of com-
position. Annibal, in his manner, appears to have fluctuated between an imitation of Corregio
and Titian ; his principal character is boldness, a profound and just design, a fortunate expres-
sion, and sublimity of execution. In beauty and design he is allowed by some to be a perfect
model for imitation : but this praise is somewhat too unlimited, and has been fatal to many artists
who, in copying his manner, have often imitated his imperfections. It is true he was very suc-
cessful in his figures of ancient statues, though, as must naturally be perceived, he fell short of
his original, to which originals his imitators should resort.
The French school, from the various manners of its artists, has no peculiar character; some
of its principal members have been formed on the Florentine and Lombard manner, others on
the Roman, others on the Venetian, and a few have distinguished themselves by a manner which
may be called their own : consequently this school unites, in a moderate degree, various different
parts of the art; but does not excel in any one of them.
Poussin, though anterior to the French school, was one of the greatest painters of that country.
His style and character are simplicity, cheerfulness, purity, and correctness. His works have
more the air of antique painting than those of any other artist. His best performances are re-
markable for a dryness of manner which, though it is not to be imitated, perfectly corresponds
with that ancient simplicity for which his style is distinguished. But in the latter part of his
life he adopted a more soft and rich manner, and made the union between the figures and the
ground much more apparent. His favourite subjects were ancient fables, for which his know-
ledge of mythology and ancient history perfectly qualified him. It was his fortune however,
and the fate of the French school, that he was more admired than imitated, and had not the least
influence in forming the manners of the artists of that country. This honour was reserved for
Simon Vouet, the enemy and persecutorof Poussin. Vouet, though a man of distinguished abilities,
was very incompetentto establish any manner of painting; and had this school then been founded,
persevering upon his principles, its existence would have been of very short duration. He had
a kind of grandeur, joined to such a facility, that it was said of him, he need only take the
pencil in his hand to finish, with one stroke, the subject he had conceived : but his design was
false with regard to colour, and his figures were wholly destitute of expression. He however
had the merit of destroying the insipid manner which pervaded that nation, and of pointing out
the road to a better taste, which was pursued and brought to perfection by Le Brum
This artist was the pupil of Vouet whom, as well as his cotemporary pupils, he astonished by
his rapid progress. So early as at the age of twenty-six, he finished his piece called The Horses
2 k. of
125
the best model for what is called style in painting:—i( Lodovico Carracci (I mean in his best
works) appears to me to approach the nearest to perfection ; his unaffected breadth of light and
shadow, the simplicity of colouring which, holding its proper rank, does not draw aside the least
part of the attention from the subject; and the solemn effect of that twilight which seems dif-
fused over his pictures, appears to me to correspond with grave and dignified subjects, better
than the more artificial brilliancy of sunshine which enlightens the pictures of Titian." Lewis,
it is true, had less fire but more gracefulness and grandeur than the other. Au«ustine was a
man of enlightened mind, and consequently refined taste. He cultivated his understanding by
his attention to the Belles Lettres, and devoted part of his time to poetry and music; and at the
same time to dancing riding and other manly exercises. He possessed a great and vigorous spirit,
which he always displayed in his pictures j and discovers in them a certain pleasantness of com-
position. Annibal, in his manner, appears to have fluctuated between an imitation of Corregio
and Titian ; his principal character is boldness, a profound and just design, a fortunate expres-
sion, and sublimity of execution. In beauty and design he is allowed by some to be a perfect
model for imitation : but this praise is somewhat too unlimited, and has been fatal to many artists
who, in copying his manner, have often imitated his imperfections. It is true he was very suc-
cessful in his figures of ancient statues, though, as must naturally be perceived, he fell short of
his original, to which originals his imitators should resort.
The French school, from the various manners of its artists, has no peculiar character; some
of its principal members have been formed on the Florentine and Lombard manner, others on
the Roman, others on the Venetian, and a few have distinguished themselves by a manner which
may be called their own : consequently this school unites, in a moderate degree, various different
parts of the art; but does not excel in any one of them.
Poussin, though anterior to the French school, was one of the greatest painters of that country.
His style and character are simplicity, cheerfulness, purity, and correctness. His works have
more the air of antique painting than those of any other artist. His best performances are re-
markable for a dryness of manner which, though it is not to be imitated, perfectly corresponds
with that ancient simplicity for which his style is distinguished. But in the latter part of his
life he adopted a more soft and rich manner, and made the union between the figures and the
ground much more apparent. His favourite subjects were ancient fables, for which his know-
ledge of mythology and ancient history perfectly qualified him. It was his fortune however,
and the fate of the French school, that he was more admired than imitated, and had not the least
influence in forming the manners of the artists of that country. This honour was reserved for
Simon Vouet, the enemy and persecutorof Poussin. Vouet, though a man of distinguished abilities,
was very incompetentto establish any manner of painting; and had this school then been founded,
persevering upon his principles, its existence would have been of very short duration. He had
a kind of grandeur, joined to such a facility, that it was said of him, he need only take the
pencil in his hand to finish, with one stroke, the subject he had conceived : but his design was
false with regard to colour, and his figures were wholly destitute of expression. He however
had the merit of destroying the insipid manner which pervaded that nation, and of pointing out
the road to a better taste, which was pursued and brought to perfection by Le Brum
This artist was the pupil of Vouet whom, as well as his cotemporary pupils, he astonished by
his rapid progress. So early as at the age of twenty-six, he finished his piece called The Horses
2 k. of