Seven Discourses on Art [38]
of the art.
If the young student is dry and hard, Poussin is the same. If his work has a careless and unfinished air, he has most of the Venetian School to support him. If he makes no selection of objects, but takes individual nature just as he finds it, he is like Rembrandt. If he is incorrect in the proportions of his figures, Correggio was likewise incorrect. If his colours are not blended and united, Rubens was equally crude.
In short, there is no defect but may be excused, if it is a sufficient excuse that it can be imputed to considerable artists; but it must be remembered that it was not by these defects they acquired their reputation: they have a right to our pardon, but not to our admiration.
However, to imitate peculiarities or mistake defects for beauties that man will be most liable who confines his imitation to one favourite master; and, even though he chooses the best, and is capable of distinguishing the real excellences of his model, it is not by such narrow practice that a genius or mastery in the art is acquired. A man is as little likely to form a true idea of the perfection of the art by studying a single artist as he would be of producing a perfectly beautiful figure by an exact imitation of any individual living model.
And as the painter, by bringing together in one piece those beauties which are dispersed amongst a great variety of individuals, produces a figure more beautiful than can be found in nature, so that artist who can unite in himself the excellences of the various painters, will approach nearer to perfection than any one of his masters.
He who confines himself to the imitation of an individual, as he never proposes to surpass, so he is not likely to equal, the object of imitation. He professes only to follow, and he that follows must necessarily be behind.
We should imitate the conduct of the great artists in the course of their studies, as well as the works which they produced, when they were perfectly formed. Raffaelle began by imitating implicitly the manner of Pietro Perugino, under whom he studied; so his first works are scarce to be distinguished from his master's; but soon forming higher and more extensive views, he imitated the grand outline of Michael Angelo. He learnt the manner of using colours from the works of Leonardo da Vinci and Fratre Bartolomeo: to all this he added the contemplation of all the remains of antiquity that were within his reach, and employed others to draw for him what was in Greece and distant places. And it is from his having taken so many models that he became himself a model for all succeeding painters, always imitating, and always original.
If your ambition therefore be to equal Raffaelle, you must do as Raffaelle did; take many models, and not take even him for your guide alone to the exclusion of others. And yet the number is infinite of those who seem, if one may judge by their style, to have seen no other works but those of their master, or of some favourite whose manner is their first wish and their last.
I will mention a few that occur to me of this narrow, confined, illiberal, unscientific, and servile kind of imitators. Guido was thus meanly copied by Elizabetta Sirani, and Simone Cantarini; Poussin, by Verdier and Cheron; Parmigiano, by Jeronimo Mazzuoli; Paolo Veronese and Iacomo Bassan had for their imitators their brothers and sons; Pietro de Cortona was followed by Ciro Ferri and Romanelli; Rubens, by Jacques Jordans and Diepenbeck; Guercino, by his own family, the Gennari; Carlo Marratti was imitated by Giuseppe Chiari and Pietro da Pietri; and Rembrandt, by Bramer, Eckhout, and Flink. All these, to whom may be added a much longer list of painters, whose works among the ignorant pass for those of their masters, are justly to be censured for barrenness and servility.
To oppose to this list a few that have adopted a more liberal style of imitation: Pelegrino Tibaldi, Rosso, and Primaticio did not coldly imitate, but caught something of the fire that animates the works of Michael Angelo. The Carraches
If the young student is dry and hard, Poussin is the same. If his work has a careless and unfinished air, he has most of the Venetian School to support him. If he makes no selection of objects, but takes individual nature just as he finds it, he is like Rembrandt. If he is incorrect in the proportions of his figures, Correggio was likewise incorrect. If his colours are not blended and united, Rubens was equally crude.
In short, there is no defect but may be excused, if it is a sufficient excuse that it can be imputed to considerable artists; but it must be remembered that it was not by these defects they acquired their reputation: they have a right to our pardon, but not to our admiration.
However, to imitate peculiarities or mistake defects for beauties that man will be most liable who confines his imitation to one favourite master; and, even though he chooses the best, and is capable of distinguishing the real excellences of his model, it is not by such narrow practice that a genius or mastery in the art is acquired. A man is as little likely to form a true idea of the perfection of the art by studying a single artist as he would be of producing a perfectly beautiful figure by an exact imitation of any individual living model.
And as the painter, by bringing together in one piece those beauties which are dispersed amongst a great variety of individuals, produces a figure more beautiful than can be found in nature, so that artist who can unite in himself the excellences of the various painters, will approach nearer to perfection than any one of his masters.
He who confines himself to the imitation of an individual, as he never proposes to surpass, so he is not likely to equal, the object of imitation. He professes only to follow, and he that follows must necessarily be behind.
We should imitate the conduct of the great artists in the course of their studies, as well as the works which they produced, when they were perfectly formed. Raffaelle began by imitating implicitly the manner of Pietro Perugino, under whom he studied; so his first works are scarce to be distinguished from his master's; but soon forming higher and more extensive views, he imitated the grand outline of Michael Angelo. He learnt the manner of using colours from the works of Leonardo da Vinci and Fratre Bartolomeo: to all this he added the contemplation of all the remains of antiquity that were within his reach, and employed others to draw for him what was in Greece and distant places. And it is from his having taken so many models that he became himself a model for all succeeding painters, always imitating, and always original.
If your ambition therefore be to equal Raffaelle, you must do as Raffaelle did; take many models, and not take even him for your guide alone to the exclusion of others. And yet the number is infinite of those who seem, if one may judge by their style, to have seen no other works but those of their master, or of some favourite whose manner is their first wish and their last.
I will mention a few that occur to me of this narrow, confined, illiberal, unscientific, and servile kind of imitators. Guido was thus meanly copied by Elizabetta Sirani, and Simone Cantarini; Poussin, by Verdier and Cheron; Parmigiano, by Jeronimo Mazzuoli; Paolo Veronese and Iacomo Bassan had for their imitators their brothers and sons; Pietro de Cortona was followed by Ciro Ferri and Romanelli; Rubens, by Jacques Jordans and Diepenbeck; Guercino, by his own family, the Gennari; Carlo Marratti was imitated by Giuseppe Chiari and Pietro da Pietri; and Rembrandt, by Bramer, Eckhout, and Flink. All these, to whom may be added a much longer list of painters, whose works among the ignorant pass for those of their masters, are justly to be censured for barrenness and servility.
To oppose to this list a few that have adopted a more liberal style of imitation: Pelegrino Tibaldi, Rosso, and Primaticio did not coldly imitate, but caught something of the fire that animates the works of Michael Angelo. The Carraches