DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0160
145
IMITATION*.
ties of many individuals into one whole. It is seldom that we find in the same man great-
ness of mind and the due proportions of body ; vigour of mind., suppleness, firmness, and agility
of limbs joined together. Art constantly represents what is rarely if ever to be met with in
human nature; regularity in the outlines, grandeur in the forms, grace in the attitudes, beauty
in the members, force in the breast, agility in the limbs, address in the arms, frankness in the
forehead, spirit in the eyes, and affability over the whole countenance. Let an artist give force
and expression to all the parts of his subject; let him vary this force and expression as different
circumstances make it necessary, and he will soon perceive that art may surpass nature. .But
though this be granted, the artist is not to imagine that art is actually arrived at this supreme
degree of perfection, and can proceed no farther. The modems seem never to have perceived
the tract pointed out by the ancient Greeks : for since the revival of painting the true and agrce-
aWe, instead of the beautiful, have been the objects of cultivation."
To avail himself of all the beauties of nature the artist must omit no opportunity of furnishing
himself with a variety of sketches of natural and even artificial objects, which possess any thing
beautiful or striking enough to arrest his attention. For this purpose he should never be without
his pocket-book and crayon, wherein he may slightly pourtray the effect of any beautiful or in-
teresting object or scene. Every fine building, every new effect of light, every novel arrange-
ment of a flight of clouds, every flow of drapery, and every attitude and expression that possesses
merit, should be carefully noticed. These sketches may not only furnish him with objects and
scenes for his work, but he may derive a far greater benefit from them : the habit of selecting
the beautiful parts of nature and making them a whole will greatly improve his taste, and expand
his mind to the purpose of his art.
In addition to the imitation of nature he must make himself well acquainted with the different
styles of the most eminent masters, which he should attentively examine and compare together.
But he must be particularly careful to avoid a servile imitation of any of them. He must learn
to admire their works, without imitating their manner. His imitation must be general and not
particular/ Whatever may be the natural bent of his own genius he should follow it in prefer-
ence to the manner of any other artist. Whether he choose to paint boldly and freely like Ru-
bens, or to labour his works like Titian or Da Vinci, let him follow it; otherwise, as the latter
artist has observed, 'f he will not be the child—but the grandchild of nature."
The artist has also the liberty of imitating an}' antique or even a modern figure, if it answer his
purpose. This has been the practice of the most eminent in the art; and their pieces have
not, upon that account, experienced the least abatement in their value.
" The addition of other mens'judgement," says the founder of the English school, u is so far
from weakening (as is the opinion of many) our own, that it will fashion and consolidate those
ideas of excellence which lay in their birth feeble, ill-shaped, and confused ; but which are fi-
nished and put in order, by the authority and practice of those whose works may be said to have
been consecrated, by bavins; stood the test of aees.
" When we speak of the habitual imitation and continued study of nature, it is not to be under-
stood that I advise any endeavour to copy the exact peculiar colour and complexion of another
man's mind ; the success of such an attempt must always be like his who imitates exactly the
air, manner, and gestures of him whom he admires. His model may be excellent, but he himself
will be ridiculous; and this ridicule arises not from his having imitated, but from his not having
chosen the right mode of imitation, " It
IMITATION*.
ties of many individuals into one whole. It is seldom that we find in the same man great-
ness of mind and the due proportions of body ; vigour of mind., suppleness, firmness, and agility
of limbs joined together. Art constantly represents what is rarely if ever to be met with in
human nature; regularity in the outlines, grandeur in the forms, grace in the attitudes, beauty
in the members, force in the breast, agility in the limbs, address in the arms, frankness in the
forehead, spirit in the eyes, and affability over the whole countenance. Let an artist give force
and expression to all the parts of his subject; let him vary this force and expression as different
circumstances make it necessary, and he will soon perceive that art may surpass nature. .But
though this be granted, the artist is not to imagine that art is actually arrived at this supreme
degree of perfection, and can proceed no farther. The modems seem never to have perceived
the tract pointed out by the ancient Greeks : for since the revival of painting the true and agrce-
aWe, instead of the beautiful, have been the objects of cultivation."
To avail himself of all the beauties of nature the artist must omit no opportunity of furnishing
himself with a variety of sketches of natural and even artificial objects, which possess any thing
beautiful or striking enough to arrest his attention. For this purpose he should never be without
his pocket-book and crayon, wherein he may slightly pourtray the effect of any beautiful or in-
teresting object or scene. Every fine building, every new effect of light, every novel arrange-
ment of a flight of clouds, every flow of drapery, and every attitude and expression that possesses
merit, should be carefully noticed. These sketches may not only furnish him with objects and
scenes for his work, but he may derive a far greater benefit from them : the habit of selecting
the beautiful parts of nature and making them a whole will greatly improve his taste, and expand
his mind to the purpose of his art.
In addition to the imitation of nature he must make himself well acquainted with the different
styles of the most eminent masters, which he should attentively examine and compare together.
But he must be particularly careful to avoid a servile imitation of any of them. He must learn
to admire their works, without imitating their manner. His imitation must be general and not
particular/ Whatever may be the natural bent of his own genius he should follow it in prefer-
ence to the manner of any other artist. Whether he choose to paint boldly and freely like Ru-
bens, or to labour his works like Titian or Da Vinci, let him follow it; otherwise, as the latter
artist has observed, 'f he will not be the child—but the grandchild of nature."
The artist has also the liberty of imitating an}' antique or even a modern figure, if it answer his
purpose. This has been the practice of the most eminent in the art; and their pieces have
not, upon that account, experienced the least abatement in their value.
" The addition of other mens'judgement," says the founder of the English school, u is so far
from weakening (as is the opinion of many) our own, that it will fashion and consolidate those
ideas of excellence which lay in their birth feeble, ill-shaped, and confused ; but which are fi-
nished and put in order, by the authority and practice of those whose works may be said to have
been consecrated, by bavins; stood the test of aees.
" When we speak of the habitual imitation and continued study of nature, it is not to be under-
stood that I advise any endeavour to copy the exact peculiar colour and complexion of another
man's mind ; the success of such an attempt must always be like his who imitates exactly the
air, manner, and gestures of him whom he admires. His model may be excellent, but he himself
will be ridiculous; and this ridicule arises not from his having imitated, but from his not having
chosen the right mode of imitation, " It