DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0222
-208
PRACTICE OF PAINTING.
any tolerable proficiency in their art. Not only a false ambition is apt to lead them out of this
path ; but indolence, and a repugnancy to adopt the laborious and toilsome method, by which
alone in painting as in every thing else, excellence can be attained. He ought never to forget
the maxim of a master, that there is no easy way to become a good painter. They must not be
terrified at the prospect before them, and of the exertion requisite to their obtaining correctness.
Let them only peruse the lives of the most eminent painters; and the necessity for labour will
be fully evinced. Some of the greatest artists have left us accounts of their mode of proceeding.
When they had conceived a subject they first made a variety of sketches; then a finished
drawing of the whole; next a more accurate drawing of each part separately; such as the
heads, feet, pieces of drapery ; and last of all painted the picture, retouching it from the life.
The student must also recollect that he may be very assiduous in employment, without making
an}' real advance in his art. His exertions ought to be chiefly directed towards overcoming
the real difficulties with which it abounds ; and to acquiring a proficiency in the higher beauties;
instead of losing his labour and time on those parts which are merely ornamental, or only suited
to catch the vulgar eve.
Students instead of vying with each other which shall possess the greatest readiness in working
ought to strive to excel in the purity and correctness of the outline. Instead of vying who
shall produce the brightest tints, or give the appearance of drapery so as to make it appear real
their ambition ought to be directed to dispose this drapery in the most graceful folds, and to
give the greatest dignity to the human form.
By copying accurately the figure before them they will acquire habits of correctness and pre-
cision, and also gain a better knowledge of the human figure. Superficial observers may disregard
such students, as if they made but very little progress; but at least they will be found capable
of adding true grace and beauty, which are indispensable to the most finished works. It was by
this care and accurate study that excellence was acquired by the ancients, and it is only in the
same way that the moderns can hope to arrive at it.
It is a matter of the utmost consequence that the examples from which the beginner is to
copy be of the best sorts. The heads, hands, profiles, ought to be all selected from the works of
the greatest masters; that the student may be early accustomed and familiarized to the most
elegant forms and the most beautiful proportions. A painter who has betimes gained a fine
taste finds it no difficult matter to give dignity to the meanest features; while even the works of
the greatest masters would suffer in the hands of another copyist. The poet has remarked that
a vessel will long retain the scent it at first contracted.
The pupil should also copy such as are esteemed the best executed heads on ancient Greek
and Roman medals or coins; not only for the reason just given, but to make him acquainted,
as one may say, with those personages who may in future be introduced into his productions;
and above all to accustom him to copy from objects represented in relief. By this practice he
will acquire some knowledge of the principles of light and shadow, and of the nature of that
arrangement of the parts of objects by which their forms are most distinctly presented to the
spectator.
Although the works of great masters can never be too much studied, yet it is of great conse-
quence to ascertain by what mode they are to be studied, so as to produce those advantages
which ought naturally to be derived from them. As the practice of copying is not to be
discouraged
PRACTICE OF PAINTING.
any tolerable proficiency in their art. Not only a false ambition is apt to lead them out of this
path ; but indolence, and a repugnancy to adopt the laborious and toilsome method, by which
alone in painting as in every thing else, excellence can be attained. He ought never to forget
the maxim of a master, that there is no easy way to become a good painter. They must not be
terrified at the prospect before them, and of the exertion requisite to their obtaining correctness.
Let them only peruse the lives of the most eminent painters; and the necessity for labour will
be fully evinced. Some of the greatest artists have left us accounts of their mode of proceeding.
When they had conceived a subject they first made a variety of sketches; then a finished
drawing of the whole; next a more accurate drawing of each part separately; such as the
heads, feet, pieces of drapery ; and last of all painted the picture, retouching it from the life.
The student must also recollect that he may be very assiduous in employment, without making
an}' real advance in his art. His exertions ought to be chiefly directed towards overcoming
the real difficulties with which it abounds ; and to acquiring a proficiency in the higher beauties;
instead of losing his labour and time on those parts which are merely ornamental, or only suited
to catch the vulgar eve.
Students instead of vying with each other which shall possess the greatest readiness in working
ought to strive to excel in the purity and correctness of the outline. Instead of vying who
shall produce the brightest tints, or give the appearance of drapery so as to make it appear real
their ambition ought to be directed to dispose this drapery in the most graceful folds, and to
give the greatest dignity to the human form.
By copying accurately the figure before them they will acquire habits of correctness and pre-
cision, and also gain a better knowledge of the human figure. Superficial observers may disregard
such students, as if they made but very little progress; but at least they will be found capable
of adding true grace and beauty, which are indispensable to the most finished works. It was by
this care and accurate study that excellence was acquired by the ancients, and it is only in the
same way that the moderns can hope to arrive at it.
It is a matter of the utmost consequence that the examples from which the beginner is to
copy be of the best sorts. The heads, hands, profiles, ought to be all selected from the works of
the greatest masters; that the student may be early accustomed and familiarized to the most
elegant forms and the most beautiful proportions. A painter who has betimes gained a fine
taste finds it no difficult matter to give dignity to the meanest features; while even the works of
the greatest masters would suffer in the hands of another copyist. The poet has remarked that
a vessel will long retain the scent it at first contracted.
The pupil should also copy such as are esteemed the best executed heads on ancient Greek
and Roman medals or coins; not only for the reason just given, but to make him acquainted,
as one may say, with those personages who may in future be introduced into his productions;
and above all to accustom him to copy from objects represented in relief. By this practice he
will acquire some knowledge of the principles of light and shadow, and of the nature of that
arrangement of the parts of objects by which their forms are most distinctly presented to the
spectator.
Although the works of great masters can never be too much studied, yet it is of great conse-
quence to ascertain by what mode they are to be studied, so as to produce those advantages
which ought naturally to be derived from them. As the practice of copying is not to be
discouraged