DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0051
INTRODUCTION.
7
sure in the contemplation of the truth of the imitation.
But to a painter they afford likewise instruction in his
profession; here he may learn the art of colouring and
composition, a skilful management of light and shade, and,
indeed, all the mechanical parts of the art, as well as in
any other school whatever. The same skill which is prac-
tised by Rubens and Titian in their large works, is here
exhibited, though on a smaller scale. Painters should go
to the Dutch school to learn the art of painting, as they
would go to a grammar school to learn languages : they
must go to Italy to learn the higher branches of know-
ledge. We must be contented to make up our idea of
perfection from the excellences which are dispersed over
the world. A poetical imagination, expression, character,
or even correctness of drawing, are seldom united with
that power of colouring which would set off those excel-
lences to the best advantage ; and in this, perhaps, no
school ever excelled the Dutch. An artist, by a close exa-
mination of their works, may in a few hours make himself
master of the principles on which they wrought, which cost
them whole ages, and perhaps the experience of a succes-
sion of ages, to ascertain.”
Here Sir Joshua Reynolds speaks chiefly of the value of
such works in the eye of a painter, as studies in the prac-
tical part of his profession; but the best among them can
also impart exceeding delight to the cultivated taste of an
amateur. The beautiful conversation pieces of Netscher
and Terburg, are like scenes of elegant comedy or domestic
fiction. I could no more endure to see Teniers, or Jan
Steen, or even the coarse Brouwer, sacrificed to Titian
and Guido, than I would wish to have Hudibras, the Rape
of the Lock, or Congreve’s comedies expunged from our
literature, because we possess a Shakspeare, a Milton, a
Spenser. Though we love Claude, and revel in his Arca-
dian fictions, “ beautiful as a wreck of Paradise,” should
7
sure in the contemplation of the truth of the imitation.
But to a painter they afford likewise instruction in his
profession; here he may learn the art of colouring and
composition, a skilful management of light and shade, and,
indeed, all the mechanical parts of the art, as well as in
any other school whatever. The same skill which is prac-
tised by Rubens and Titian in their large works, is here
exhibited, though on a smaller scale. Painters should go
to the Dutch school to learn the art of painting, as they
would go to a grammar school to learn languages : they
must go to Italy to learn the higher branches of know-
ledge. We must be contented to make up our idea of
perfection from the excellences which are dispersed over
the world. A poetical imagination, expression, character,
or even correctness of drawing, are seldom united with
that power of colouring which would set off those excel-
lences to the best advantage ; and in this, perhaps, no
school ever excelled the Dutch. An artist, by a close exa-
mination of their works, may in a few hours make himself
master of the principles on which they wrought, which cost
them whole ages, and perhaps the experience of a succes-
sion of ages, to ascertain.”
Here Sir Joshua Reynolds speaks chiefly of the value of
such works in the eye of a painter, as studies in the prac-
tical part of his profession; but the best among them can
also impart exceeding delight to the cultivated taste of an
amateur. The beautiful conversation pieces of Netscher
and Terburg, are like scenes of elegant comedy or domestic
fiction. I could no more endure to see Teniers, or Jan
Steen, or even the coarse Brouwer, sacrificed to Titian
and Guido, than I would wish to have Hudibras, the Rape
of the Lock, or Congreve’s comedies expunged from our
literature, because we possess a Shakspeare, a Milton, a
Spenser. Though we love Claude, and revel in his Arca-
dian fictions, “ beautiful as a wreck of Paradise,” should