[79]Of course this assertion does not refer to the differences in mode of execution, which enable one painter to work faster or slower than another, but only to the exertion of mind, commonly manifested by the artist, according as he is sparing or prodigal of production.[80]"Talk of improving nature when itisnature—Nonsense."—E. V. Rippingille. I have not yet spoken of the difference—even in what we commonly call Nature—between imperfect and ideal form: the study of this difficult question must, of course, be deferred until we have examined the nature of our impressions of beauty; but it may not be out of place here to hint at the want of care in many of our artists to distinguish between the real work of nature and the diseased results of man's interference with her. Many of the works of our greatest artists have for their subjects nothing but hacked and hewn remnants of farm-yard vegetation, branded root and branch, from their birth, by the prong and the pruning-hook; and the feelings once accustomed to take pleasure in such abortions, can scarcely become perceptive of forms truly ideal. I have just said (423) that young painters should go to nature trustingly,—rejecting nothing, and selecting nothing: so they should; but they must be careful that itisnature to whom they go—nature in her liberty—not as servant-of-all-work in the hands of the agriculturist, nor stiffened into court-dress by the landscape gardener. It must be the pure, wild volition and energy of the creation which they follow—not subdued to the furrow, and cicatrized to the pollard—not persuaded into proprieties, nor pampered into diseases. Let them work by the torrent-side, and in the forest shadows; not by purling brooks and under "tonsile shades." It is impossible to enter here into discussion of what man can or cannot do, by assisting natural operations: it is an intricate question: nor can I, without anticipating what I shall have hereafter to advance, show how or why it happens that the racehorse isnotthe artist's ideal of a horse, nor a prize tulip his ideal of a flower; but so it is. As far as the painter is concerned, man never touches nature but to spoil;—he operates on her as a barber would on the Apollo; and if he sometimes increases some particular power or excellence,—strength or agility in the animal—tallness, or fruitfulness, or solidity in the tree,—he invariably loses thatbalanceof good qualities which is the chief sign of perfect specific form; above all, he destroys the appearance of freevolitionandfelicity, which, as I shall show hereafter, is one of the essential characters of organic beauty. Until, however, I can enter into the discussion of the nature of beauty, the only advice I can safely give the young painter, is to keep clear of clover-fields and parks, and to hold to the unpenetrated forest and the unfurrowed hill. There he will find that every influence is noble, even when destructive—that decay itself is beautiful,—and that, in the elaborate and lovely composition of all things, if at first sight it seems less studied than the works of men, the appearance of Art is only prevented by the presence of Power."Nature never did betrayThe heart that loved her: 'tis her privilege,Through all the years of this our life, to leadFrom joy to joy; for she can so informThe mind that is within us, so impressWith quietness and beauty, and so feedWith lofty thoughts, that neither evil tongues,Rash judgments, nor the sneers of selfish menShall e'er prevail against us, or disturbOur cheerful faith, that all which we beholdIs full of blessings."Wordsworth.[81]It has been hinted, in some of the reviews of the Second Volume of this work, that the writer's respect for Turner has diminished since the above passage was written. He would, indeed, have been deserving of little attention if, with the boldness manifested on the preceding pages, he had advanced opinions based on so shallow foundation as that the course of three years could effect modification of them. He was justified by the sudden accession of power which the great artist exhibited at the period when this volume was first published, as well as by the low standard of the criticism to which he was subjected, in claiming, with respect to his then works, a submission of judgment, greater indeed than may generally be accorded to even the highest human intellect, yet not greater than such a master might legitimately claim from such critics; and the cause of the peculiar form of advocacy into which the preceding chapters necessarily fell, has been already stated more than once. In the following sections it became necessary, as they treated a subject of intricate relations, and peculiar difficulty, to obtain a more general view of the scope and operation of art, and to avoid all conclusions in any wise referable to the study of particular painters. The reader will therefore find, not that lower rank is attributed to Turner, but that he is now compared with the greatest men, and occupies his true position among the most noble of all time.
[79]Of course this assertion does not refer to the differences in mode of execution, which enable one painter to work faster or slower than another, but only to the exertion of mind, commonly manifested by the artist, according as he is sparing or prodigal of production.
[80]"Talk of improving nature when itisnature—Nonsense."—E. V. Rippingille. I have not yet spoken of the difference—even in what we commonly call Nature—between imperfect and ideal form: the study of this difficult question must, of course, be deferred until we have examined the nature of our impressions of beauty; but it may not be out of place here to hint at the want of care in many of our artists to distinguish between the real work of nature and the diseased results of man's interference with her. Many of the works of our greatest artists have for their subjects nothing but hacked and hewn remnants of farm-yard vegetation, branded root and branch, from their birth, by the prong and the pruning-hook; and the feelings once accustomed to take pleasure in such abortions, can scarcely become perceptive of forms truly ideal. I have just said (423) that young painters should go to nature trustingly,—rejecting nothing, and selecting nothing: so they should; but they must be careful that itisnature to whom they go—nature in her liberty—not as servant-of-all-work in the hands of the agriculturist, nor stiffened into court-dress by the landscape gardener. It must be the pure, wild volition and energy of the creation which they follow—not subdued to the furrow, and cicatrized to the pollard—not persuaded into proprieties, nor pampered into diseases. Let them work by the torrent-side, and in the forest shadows; not by purling brooks and under "tonsile shades." It is impossible to enter here into discussion of what man can or cannot do, by assisting natural operations: it is an intricate question: nor can I, without anticipating what I shall have hereafter to advance, show how or why it happens that the racehorse isnotthe artist's ideal of a horse, nor a prize tulip his ideal of a flower; but so it is. As far as the painter is concerned, man never touches nature but to spoil;—he operates on her as a barber would on the Apollo; and if he sometimes increases some particular power or excellence,—strength or agility in the animal—tallness, or fruitfulness, or solidity in the tree,—he invariably loses thatbalanceof good qualities which is the chief sign of perfect specific form; above all, he destroys the appearance of freevolitionandfelicity, which, as I shall show hereafter, is one of the essential characters of organic beauty. Until, however, I can enter into the discussion of the nature of beauty, the only advice I can safely give the young painter, is to keep clear of clover-fields and parks, and to hold to the unpenetrated forest and the unfurrowed hill. There he will find that every influence is noble, even when destructive—that decay itself is beautiful,—and that, in the elaborate and lovely composition of all things, if at first sight it seems less studied than the works of men, the appearance of Art is only prevented by the presence of Power.
"Nature never did betrayThe heart that loved her: 'tis her privilege,Through all the years of this our life, to leadFrom joy to joy; for she can so informThe mind that is within us, so impressWith quietness and beauty, and so feedWith lofty thoughts, that neither evil tongues,Rash judgments, nor the sneers of selfish menShall e'er prevail against us, or disturbOur cheerful faith, that all which we beholdIs full of blessings."Wordsworth.
[81]It has been hinted, in some of the reviews of the Second Volume of this work, that the writer's respect for Turner has diminished since the above passage was written. He would, indeed, have been deserving of little attention if, with the boldness manifested on the preceding pages, he had advanced opinions based on so shallow foundation as that the course of three years could effect modification of them. He was justified by the sudden accession of power which the great artist exhibited at the period when this volume was first published, as well as by the low standard of the criticism to which he was subjected, in claiming, with respect to his then works, a submission of judgment, greater indeed than may generally be accorded to even the highest human intellect, yet not greater than such a master might legitimately claim from such critics; and the cause of the peculiar form of advocacy into which the preceding chapters necessarily fell, has been already stated more than once. In the following sections it became necessary, as they treated a subject of intricate relations, and peculiar difficulty, to obtain a more general view of the scope and operation of art, and to avoid all conclusions in any wise referable to the study of particular painters. The reader will therefore find, not that lower rank is attributed to Turner, but that he is now compared with the greatest men, and occupies his true position among the most noble of all time.
The above passage was written in the year 1843; too late. It is true that soon after the publication of this work, the abuse of the press, which had been directed against Turner with unceasing virulence during the production of his noblest works, sank into timid animadversion, or changed into unintelligent praise; but not before illness, and, in some degree, mortification, had enfeebled the hand and chilled the heart of the painter.
This year (1851) he has no picture on the walls of the Academy; and theTimesof May 3d says, "We miss those works of INSPIRATION!"
We miss! Who misses?—The populace of England rolls by to weary itself in the great bazaar of Kensington, little thinkingthat a day will come when those veiled vestals and prancing amazons, and goodly merchandise of precious stones and gold, will all be forgotten as though they had not been, but that the light which has faded from the walls of the Academy is one which a million of Koh-i-Noors could not rekindle, and that the year 1851 will in the far future be remembered less for what it has displayed than for what it has withdrawn.
Denmark Hill,June, 1851.
END OF THE FIRST VOLUME.