DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0224
210
VARIETIES OF PAINTING.
8. Night Pieces, representing objects as illuminated by the light of the moon, or by torches
and candles, by the flames of a conflagration, &c. In this branch the works of Vandermeer,
Schalck, &c. are highly valued.
y. Living Animals, which are much more difficult to execute with propriety than is generally
supposed, as will be found on viewing paintings of horses, dogs and other animals, with which
we are familiarly and critically acquainted.
10. Birds, in executing which great labour and accuracy are required, in order to give a just
representation of the infinite variety and delicacy of their plumage.
11. Culinary Pieces, or those which present all sorts of provisions, animals without life, &c.
In this branch, which is much inferior to any of the former, objects never appear to advantage,
and the greatest excellence in it amounting only to a very accurate imitation, can never produce
much pleasure in the spectator. To this class the painting of fish naturally belongs.
12. Fruit and Flozoer Pieces, a most agreeable branch of painting, in which Huysum, Segers
and others have excelled. To this the representation of plants and insects naturally corresponds.
13. Architectural Pieces. In this species of painting the Italians have arrived at great perfec-
tion, from the multitude of examples of art, both ancient and modern, with which their country
abounds ; and the general purity of their air, by which the endless variety of tints produced by
time, or the nature of the materials of which their edifices are composed, are rendered per-
ceptible. To this class belong all imitations of ruins, towns, streets, public places ; such as we
find in the celebrated views of Venice, by Canaletti and others.
14. Imitations of Bas-reliefs, which have been carried to a wonderful degree of justness of
imitation : witness the works of Polydore c}a Caravaggio.
15. Hunting Pieces demand very considerable talents, as they unite representations of men,
horses, and other animals with landscape.
16. Instruments of Music, Pieces of Furniture, an-d other inanimate objects, of endless variety;
form an inferior class, and seldom engage the attention of eminent artists.
The limits of this work will not admit of enlargement on all these subdivisions of the art of
painting ; the rules formerly laid down in treating of Disposition and Invention may, by making
the appropriate changes, be applied to the preceding classification : but the best masters, acade-
mies of reputation, and judicious practice founded on rational principles, are the sources from
which the student must derive a knowledge of the details of his art. The following observations
on the two branches most frequently cultivated in the present times, and in this country, viz. land-*
scape and portrait painting, will, it is hoped, prove essentially useful.
SECTION I.
OF LANDSCAPE, WITH ITS PARTS.
LANDSCAPE PAINTING comprehends all objects presented to our view in a prospect of
4he country; and is divided into the heroic, and the rural or "pastoral, all other styles of land-
scape being only mixtures of these,
The heroic style includes objects which, in their several species, exhibit every thing both in
nature and art that is great or extraordinary. The situations are agreeable and surprising. The
buildings
VARIETIES OF PAINTING.
8. Night Pieces, representing objects as illuminated by the light of the moon, or by torches
and candles, by the flames of a conflagration, &c. In this branch the works of Vandermeer,
Schalck, &c. are highly valued.
y. Living Animals, which are much more difficult to execute with propriety than is generally
supposed, as will be found on viewing paintings of horses, dogs and other animals, with which
we are familiarly and critically acquainted.
10. Birds, in executing which great labour and accuracy are required, in order to give a just
representation of the infinite variety and delicacy of their plumage.
11. Culinary Pieces, or those which present all sorts of provisions, animals without life, &c.
In this branch, which is much inferior to any of the former, objects never appear to advantage,
and the greatest excellence in it amounting only to a very accurate imitation, can never produce
much pleasure in the spectator. To this class the painting of fish naturally belongs.
12. Fruit and Flozoer Pieces, a most agreeable branch of painting, in which Huysum, Segers
and others have excelled. To this the representation of plants and insects naturally corresponds.
13. Architectural Pieces. In this species of painting the Italians have arrived at great perfec-
tion, from the multitude of examples of art, both ancient and modern, with which their country
abounds ; and the general purity of their air, by which the endless variety of tints produced by
time, or the nature of the materials of which their edifices are composed, are rendered per-
ceptible. To this class belong all imitations of ruins, towns, streets, public places ; such as we
find in the celebrated views of Venice, by Canaletti and others.
14. Imitations of Bas-reliefs, which have been carried to a wonderful degree of justness of
imitation : witness the works of Polydore c}a Caravaggio.
15. Hunting Pieces demand very considerable talents, as they unite representations of men,
horses, and other animals with landscape.
16. Instruments of Music, Pieces of Furniture, an-d other inanimate objects, of endless variety;
form an inferior class, and seldom engage the attention of eminent artists.
The limits of this work will not admit of enlargement on all these subdivisions of the art of
painting ; the rules formerly laid down in treating of Disposition and Invention may, by making
the appropriate changes, be applied to the preceding classification : but the best masters, acade-
mies of reputation, and judicious practice founded on rational principles, are the sources from
which the student must derive a knowledge of the details of his art. The following observations
on the two branches most frequently cultivated in the present times, and in this country, viz. land-*
scape and portrait painting, will, it is hoped, prove essentially useful.
SECTION I.
OF LANDSCAPE, WITH ITS PARTS.
LANDSCAPE PAINTING comprehends all objects presented to our view in a prospect of
4he country; and is divided into the heroic, and the rural or "pastoral, all other styles of land-
scape being only mixtures of these,
The heroic style includes objects which, in their several species, exhibit every thing both in
nature and art that is great or extraordinary. The situations are agreeable and surprising. The
buildings