Table-Talk William Hazlitt (epub e ink reader txt) 📖

warm the heart of the spectator. The wish of the genuine painter must be more extensive: instead of endeavouring to amuse mankind with the minute neatness of his imitations, he must endeavour to improve them by the grandeur of his ideas; instead of seeking praise by deceiving the superficial sense of the spectator, he must strive for fame by captivating the imagination.”

From this passage it would surely seem that there was nothing in nature but minute neatness and superficial effect: nothing great in her style, for an imitator of it can produce nothing great; nothing “to enlarge the conceptions or warm the heart of the spectator.”

“What word hath passed thy lips, Adam severe!”

All that is truly grand or excellent is a figment of the imagination, a vapid creation out of nothing, a pure effect of overlooking and scorning the minute neatness of natural objects. This will not do. Again, Sir Joshua lays it down without any qualification that⁠—

“The whole beauty and grandeur of the art consists in being able to get above all singular forms, local customs, peculiarities, and details of every kind.”

Yet we find him acknowledging a different opinion.

“I am very ready to allow” (he says, in speaking of history-painting) “that some circumstances of minuteness and particularity frequently tend to give an air of truth to a piece, and to interest the spectator in an extraordinary manner. Such circumstances therefore cannot wholly be rejected; but if there be anything in the Art which requires peculiar nicety of discernment, it is the disposition of these minute, circumstantial parts, which, according to the judgment employed in the choice, become so useful to truth or so injurious to grandeur.”

That’s true; but the sweeping clause against “all particularities and details of every kind” is clearly got rid of. The undecided state of Sir Joshua’s feelings on this subject of the incompatibility between the whole and the details is strikingly manifested in two short passages which follow each other in the space of two pages. Speaking of some pictures of Paul Veronese and Rubens as distinguished by the dexterity and the unity of style displayed in them, he adds:

“It is by this, and this alone, that the mechanical power is ennobled, and raised much above its natural rank. And it appears to me that with propriety it acquires this character, as an instance of that superiority with which mind predominates over matter, by contracting into one whole what nature has made multifarious.”

This would imply that the principle of unity and integrity is only in the mind, and that nature is a heap of disjointed, disconnected particulars, a chaos of points and atoms. In the very next page the following sentence occurs:

“As painting is an art, they” (the ignorant) “think they ought to be pleased in proportion as they see that art ostentatiously displayed; they will from this supposition prefer neatness, high finishing, and gaudy corlouring, to the truth, simplicity, and unity of nature.”

Before, neatness and high finishing were supposed to belong exclusively to the littleness of nature, but here truth, simplicity, and unity are her characteristics. Soon after, Sir Joshua says: “I should be sorry if what has been said should be understood to have any tendency to encourage that carelessness which leaves work in an unfinished state. I commend nothing for the want of exactness; I mean to point out that kind of exactness which is the best, and which is alone truly to be so esteemed.” This Sir Joshua has already told us consists in getting above “all particularities and details of every kind.” Once more we find it stated that⁠—

“It is in vain to attend to the variation of tints, if in that attention the general hue of flesh is lost; or to finish ever so minutely the parts, if the masses are not observed, or the whole not well put together.”

Nothing can be truer; but why always suppose the two things at variance with each other?

“Titian’s manner was then new to the world, but that unshaken truth on which it is founded has fixed it as a model to all succeeding painters; and those who will examine into the artifice will find it to consist in the power of generalising, and in the shortness and simplicity of the means employed.”

Titian’s real excellence consisted in the power of generalising and of individualising at the same time: if it wore merely the former, it would be difficult to account for the error immediately after pointed out by Sir Joshua. He says in the very next paragraph:

“Many artists, as Vasari likewise observes, have ignorantly imagined they are imitating the manner of Titian when they leave their colours rough and neglect the detail; but not possessing the principles on which he wrought, they have produced what he calls goffe pitture⁠—absurd, foolish pictures.”

Many artists have also imagined they were following the directions of Sir Joshua when they did the same thing, that is, neglected the detail, and produced the same results⁠—vapid generalities, absurd, foolish pictures.

I will only give two short passages more, and have done with this part of the subject. I am anxious to confront Sir Joshua with his own authority:

“The advantage of this method of considering objects (as a whole) is what I wish now more particularly to enforce. At the same time I do not forget that a painter must have the power of contracting as well as dilating his sight; because he that does not at all express particulars expresses nothing; yet it is certain that a nice discrimination of minute circumstances and a punctilious delineation of them, whatever excellence it may have (and I do not mean to detract from it), never did confer on the artist the character of Genius.”

At page 53 we find the following words:

“Whether it is the human figure, an animal, or even inanimate objects, there is nothing, however unpromising in appearance, but may be raised into dignity, convey sentiment, and produce emotion, in the hands of a painter of genius. What was said