DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0240
220
PORTRAIT.
evidently that they by no means desire to reduce it to practice, particularly in portraits of
their own persons. And here it seems to be but fair that some complaisance should be shewn to
them by the artist, as it is very possible to make a picture resemble the original, without giving
anv offence : for the likeness consists in the just agreement of the painting with the natural
features, so that one may be at no loss to recognise the identity of the face, and the general
character of the person represented. All deformities therefore, when the air and resemblance
may be preserved without them, may fairly be either corrected or omitted, particularly in portraits
of women or j'oung persons. Thus a nose somewhat awry may be restored ; a meagre neck, a
high shoulder, &c. may be adapted to an agreeable air and attitude ; without running palpably
into extremes. This however must be done with great discretion, lest by endeavouring to correct
nature on all occasions, the painter acquire a habit of deviating from his original, and of giving
to all his works one general manner; just as by confining himself too much to copy every minute
peculiarity or defect, he is apt to sink into a little mode of execution, destitute of life and taste.
This licence is not permitted in portraits of heroes, or persons distinguished by their rank,
their virtues, their great qualities; where the artist cannot be too exact in representing the parts
of the original, whether beautiful or not; for such portraits being intended as monuments for
posterity, the more faithful the likeness the more it will be valued. In whatever way however
this is done, still a good air and graceful mien are never to be passed over.
2. Of the colouring of a portrait. By colouring we exhibit the natural temperament of the
person represented, a most essential part of the likeness, and requiring all the artist's skill : for
excellence in this part of his art is much rarer than would be at first sight supposed. In colouring,
the objects are to imitate with precision the natural tints, and to apply them in such a way as,
without departing from the natural arrangement in the original, may produce the most advanta-
geous effect. The tints can be learned only from practice, by examining and comparing the
colours we see in life, with those by which we wish to imitate them ; and the ai t of employing
these tints is to place them beside one another, in soeh an order as to produce the desired effect;
at the same time making the proper allowances for the changes gradually appearing in them, after
they have been applied, when much of their glowing freshness will be abated. The painter who
does nothing more than represent what he sees before him, will not easily arrive at a perfect
situation; for though his work may, on the easel, appear proper to himself, it may have a very
different effect on others, and even on himself, when beheld at a distance. A tint, when near
the eye, appears of one colour, but at some distance varies so much us to be confounded with other
tints on each side : in order therefore that the piece may have its due effect, when viewed where
it is intended to be placed, both the colours and the lights must be a little loaded, but with
discretion and skill. In this part the artist may learn admirable hints from the works of Titian^
Rubens, Vandyck and Rembrandt.
The tints commonly demand three separate observations : the first is at the person's first
sitting down to have his picture drawn, when the exercise and external air may have excited a
more lively complexion than is usual with him: the second, when he is somewhat composed,
and has resumed his ordinary colour: the third, when from weariness, in sitting long in the
same posture, the complexion undergoes a change. On this account the natural complexion,
somewhat heightened, may be the best colour to be applied to the picture.
in painting the drapery, the artist is to consider that all sorts and colours of stuffs do not
equally
PORTRAIT.
evidently that they by no means desire to reduce it to practice, particularly in portraits of
their own persons. And here it seems to be but fair that some complaisance should be shewn to
them by the artist, as it is very possible to make a picture resemble the original, without giving
anv offence : for the likeness consists in the just agreement of the painting with the natural
features, so that one may be at no loss to recognise the identity of the face, and the general
character of the person represented. All deformities therefore, when the air and resemblance
may be preserved without them, may fairly be either corrected or omitted, particularly in portraits
of women or j'oung persons. Thus a nose somewhat awry may be restored ; a meagre neck, a
high shoulder, &c. may be adapted to an agreeable air and attitude ; without running palpably
into extremes. This however must be done with great discretion, lest by endeavouring to correct
nature on all occasions, the painter acquire a habit of deviating from his original, and of giving
to all his works one general manner; just as by confining himself too much to copy every minute
peculiarity or defect, he is apt to sink into a little mode of execution, destitute of life and taste.
This licence is not permitted in portraits of heroes, or persons distinguished by their rank,
their virtues, their great qualities; where the artist cannot be too exact in representing the parts
of the original, whether beautiful or not; for such portraits being intended as monuments for
posterity, the more faithful the likeness the more it will be valued. In whatever way however
this is done, still a good air and graceful mien are never to be passed over.
2. Of the colouring of a portrait. By colouring we exhibit the natural temperament of the
person represented, a most essential part of the likeness, and requiring all the artist's skill : for
excellence in this part of his art is much rarer than would be at first sight supposed. In colouring,
the objects are to imitate with precision the natural tints, and to apply them in such a way as,
without departing from the natural arrangement in the original, may produce the most advanta-
geous effect. The tints can be learned only from practice, by examining and comparing the
colours we see in life, with those by which we wish to imitate them ; and the ai t of employing
these tints is to place them beside one another, in soeh an order as to produce the desired effect;
at the same time making the proper allowances for the changes gradually appearing in them, after
they have been applied, when much of their glowing freshness will be abated. The painter who
does nothing more than represent what he sees before him, will not easily arrive at a perfect
situation; for though his work may, on the easel, appear proper to himself, it may have a very
different effect on others, and even on himself, when beheld at a distance. A tint, when near
the eye, appears of one colour, but at some distance varies so much us to be confounded with other
tints on each side : in order therefore that the piece may have its due effect, when viewed where
it is intended to be placed, both the colours and the lights must be a little loaded, but with
discretion and skill. In this part the artist may learn admirable hints from the works of Titian^
Rubens, Vandyck and Rembrandt.
The tints commonly demand three separate observations : the first is at the person's first
sitting down to have his picture drawn, when the exercise and external air may have excited a
more lively complexion than is usual with him: the second, when he is somewhat composed,
and has resumed his ordinary colour: the third, when from weariness, in sitting long in the
same posture, the complexion undergoes a change. On this account the natural complexion,
somewhat heightened, may be the best colour to be applied to the picture.
in painting the drapery, the artist is to consider that all sorts and colours of stuffs do not
equally