DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.870#0032
ait when clothed with fine colouring, may be compared to the combination of bombastic and high
sounding words which bear no connection with each other, and which when analysed by a moment's
reflection, are discovered to be downright nonsense. Some connoisseurs entertain an opinion
that correctness destroys freedom, and, in the preface to one of the catalogues of old paintings
exhibited in the British gallery, the following remark on the works of Rubens will be found, namely,
" he never sacrificed freedom to correctness." This is at least a very dangerous observation, even if it
were founded on sound principles, inasmuch as its obvious tendency must be to lead young artists
into the fatal delusion that correctness destroys freedom; whereas in fact nothing can be free that is
not strictly correct; for that which is not correct cannot be natural, and that which is not natural
cannot be free.
It is clear that the ancient Greek artists considered no one part of their subject as inferior
to another, for we find the same truth and the same skill exhibited in their horses as in their
men, and this undoubtedly was not accomplished without long and arduous study in every
department of their art.
" Nil actum reputans, si quid superesset agendum."
Taking a retrospective view of the foregoing strictures on the present state of art in this
country, the Author is aware of the consequences of assuming the bold and hazardous position
other works of the same artist, it furnishes a most triumphant proof of the superiority of productions derived from that source, as well as of
the folly of discarding that unerring standard of truth, for the ridiculous chimeras of imaginary perfection.
sounding words which bear no connection with each other, and which when analysed by a moment's
reflection, are discovered to be downright nonsense. Some connoisseurs entertain an opinion
that correctness destroys freedom, and, in the preface to one of the catalogues of old paintings
exhibited in the British gallery, the following remark on the works of Rubens will be found, namely,
" he never sacrificed freedom to correctness." This is at least a very dangerous observation, even if it
were founded on sound principles, inasmuch as its obvious tendency must be to lead young artists
into the fatal delusion that correctness destroys freedom; whereas in fact nothing can be free that is
not strictly correct; for that which is not correct cannot be natural, and that which is not natural
cannot be free.
It is clear that the ancient Greek artists considered no one part of their subject as inferior
to another, for we find the same truth and the same skill exhibited in their horses as in their
men, and this undoubtedly was not accomplished without long and arduous study in every
department of their art.
" Nil actum reputans, si quid superesset agendum."
Taking a retrospective view of the foregoing strictures on the present state of art in this
country, the Author is aware of the consequences of assuming the bold and hazardous position
other works of the same artist, it furnishes a most triumphant proof of the superiority of productions derived from that source, as well as of
the folly of discarding that unerring standard of truth, for the ridiculous chimeras of imaginary perfection.