DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61012#0027
SLR JOSHUA REYNOLDS.
XXV
and determined outline is one of the characteristics of the great
style of painting ! ” Against which is written, “ Here is a noble
sentence 1 a sentence which overthrows all his book.”
With no more than justice he remarks on the very weakest
feature in Sir Joshua’s system: “Reynolds’ opinion was, that
genius may be taught, and all pretence to inspiration is a lie or
deceit, to say the least of it. If it is deceit, the whole Bible is
madness.” Of the Third Discourse he energetically avers :
“The following discourse is particularly interesting to block-
heads, as it endeavours to prove that there is no such thing as
inspiration, and that any man of plain understanding may, by
thieving from others, become a Michael Angelo.” Again-
“No real style of colouring now appears,
Save through advertisements in the newspapers ;
Look there—you’ll see Sir Joshua’s colouring ;
Look at his pictures—all has taken wing.”
Again, when Reynolds tells his hearers that “ enthusiastic
admiration seldom promotes knowledge,”—“ And such is the
coldness with which Reynolds speaks ! And such is his enmity 1
Enthusiastic admiration is the first principle of knowledge and
its last. How he begins to degrade, to deny, and to mock!
The man, who, on examining his own mind, finds nothing of
inspiration, ought not to dare to be an artist. He is a fool and
an amusing knave suited to the purposes of evil demons. The
man who never in his mind and thought travelled to Heaven is
no artist. It is evident that Reynolds wished none but fools to
be in the arts, and in order to compass this, he calls all others
rogues, enthusiasts, or madmen. What has reasoning to do
with the art of painting ?”
It is evident that Blake has not always fully followed Rey-
nolds’ meaning. Indeed, Sir Joshua is at times a little obscure,
a circumstance his detractors did not overlook, nicknaming him
Sir Obadiah Twylight, and classifying his style as “sub-fusk.”
Concerning this Third Discourse, which deals with the grand
style and the right imitation of nature, an anecdote is preserved.
West was at the time painting his picture of the “ Death of
Wolfe.” When it was understood that he meant to paint the
XXV
and determined outline is one of the characteristics of the great
style of painting ! ” Against which is written, “ Here is a noble
sentence 1 a sentence which overthrows all his book.”
With no more than justice he remarks on the very weakest
feature in Sir Joshua’s system: “Reynolds’ opinion was, that
genius may be taught, and all pretence to inspiration is a lie or
deceit, to say the least of it. If it is deceit, the whole Bible is
madness.” Of the Third Discourse he energetically avers :
“The following discourse is particularly interesting to block-
heads, as it endeavours to prove that there is no such thing as
inspiration, and that any man of plain understanding may, by
thieving from others, become a Michael Angelo.” Again-
“No real style of colouring now appears,
Save through advertisements in the newspapers ;
Look there—you’ll see Sir Joshua’s colouring ;
Look at his pictures—all has taken wing.”
Again, when Reynolds tells his hearers that “ enthusiastic
admiration seldom promotes knowledge,”—“ And such is the
coldness with which Reynolds speaks ! And such is his enmity 1
Enthusiastic admiration is the first principle of knowledge and
its last. How he begins to degrade, to deny, and to mock!
The man, who, on examining his own mind, finds nothing of
inspiration, ought not to dare to be an artist. He is a fool and
an amusing knave suited to the purposes of evil demons. The
man who never in his mind and thought travelled to Heaven is
no artist. It is evident that Reynolds wished none but fools to
be in the arts, and in order to compass this, he calls all others
rogues, enthusiasts, or madmen. What has reasoning to do
with the art of painting ?”
It is evident that Blake has not always fully followed Rey-
nolds’ meaning. Indeed, Sir Joshua is at times a little obscure,
a circumstance his detractors did not overlook, nicknaming him
Sir Obadiah Twylight, and classifying his style as “sub-fusk.”
Concerning this Third Discourse, which deals with the grand
style and the right imitation of nature, an anecdote is preserved.
West was at the time painting his picture of the “ Death of
Wolfe.” When it was understood that he meant to paint the