Sir Joshua Reynolds

“ When a young artist is first told that his composition and his attitudes must be contrasted, that he must turn the head contrary to the position of the body, in order to produce grace and animation; that his outline must be undulating, and swelling, to give grandeur; and that the eye must be gratified with a variety of colours; when he is told this, with certain animating words of Spirit, Dignity, Energy, Grace, greatness of Style, and brilliancy of Tints, he becomes suddenly vain of his newly-acquired knowledge, and never thinks he can carry those rules too far. ”

“ Invention is one of the great marks of genius; but if we consult experience, we shall find, that it is by being conversant with the inventions of others, that we learn to invent; as by reading the thoughts of others we learn to think.
Whoever has so far formed his taste, as to be able to relish and feel the beauties of the great masters, has gone a great way in his study; for, merely from a consciousness of this relish of the right, the mind swells with an inward pride, and is almost as powerfully affected, as if it had itself produced what it admires. ”

“ An artist whose judgment is matured by long observation, considers rather what the picture once was, than what it is at present. He has acquired a power by habit of seeing the brilliancy of tints through the cloud by which it is obscured. An exact imitation, therefore, of those pictures, is likely to fill the student’s mind with false opinions, and to send him back a colourist of his own formation, with ideas equally remote from nature and from art, from the genuine practice of the masters and the real appearances of things. ”

“ The true spirit of philosophy, by giving knowledge, gives a manly confidence, and substitutes rational firmness in the place of vain presumption. A man of real taste is always a man of judgment in other respects; and those inventions which either disdain or shrink from reason are generally, I fear, more like the dreams of a distempered brain than the exalted enthusiasm of a sound and true genius. In the midst of the highest flights of fancy or imagination, reason ought to preside from first to last, though I admit her more powerful operation is upon reflection. ”

“ Beauty and simplicity have so great a share in the composition of a great style, that he who has acquired them has little else to learn. It must not, indeed, be forgotten, that there is a nobleness of conception, which goes beyond anything in the mere exhibition even of perfect form; there is an art of animating and dignifying the figures with intellectual grandeur, of impressing the appearance of philosophic wisdom, or heroic virtue. ”

“ Though it be allowed that elaborate harmony of colouring, a brilliancy of tints, a soft and gradual transition from one to another, present to the eye what an harmonious concert of music does to the ear, it must be remembered that painting is not merely a gratification of the sight. Such excellence, though properly cultivated where nothing higher than elegance is intended, is weak and unworthy of regard, when the work aspires to grandeur and sublimity. ”

“ 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.
The principle now laid down, that the perfection of this art does not consist in mere imitation, is far from being new or singular. It is, indeed, supported by the general opinion of the enlightened part of mankind. ”

“ The painter has no other means of giving an idea of the dignity of the mind, but by that external appearance which grandeur of thought does generally, though not always, impress on the countenance; and by that correspondence of figure to sentiment and situation, which all men wish, but cannot command. The painter, who may in this one particular attain with ease what others desire in vain, ought to give all that he possibly can, since there are so many circumstances of true greatness that he cannot give at all. He cannot make his hero talk like a great man; he must make him look like one. ”

“ I cannot help imagining that I see a promising young painter, equally vigilant, whether at home, or abroad in the streets, or in the fields. Every object that presents itself is to him a lesson. He regards all nature with a view to his profession; and combines her beauties, or corrects her defects. He examines the countenance of men under the influence of passion; and often catches the most pleasing hints from subjects of turbulence or deformity. ”

“ The Dutch and Flemish style of landscape, not even excepting those of Rubens, is unfit for poetical subjects; but to explain in what this ineptitude consists, or to point out all the circumstances that give nobleness, grandeur, and the poetic character to style, in landscape, would require a long discourse of itself; and the end would be then perhaps but imperfectly attained. The painter who is ambitious of this perilous excellence must catch his inspiration from those who have cultivated with success the poetry, as it may be called, of the art; and they are few indeed. ”

“ It may appear strange, perhaps, to hear this sense of the rule disputed; but it must be considered, that if the excellency of a Painter consisted only in this kind of imitation, Painting must lose its rank, and be no longer considered as a liberal art, and sister to Poetry: this imitation being merely mechanical, in which the slowest intellect is always sure to succeed best; for the Painter of genius cannot stoop to drudgery, in which the understanding has no part; and what pretence has the Art to claim kindred with Poetry, but by its power over the imagination? ”

“ Peculiarities in the works of art are like those in the human figure; it is by them that we are cognisable and distinguished one from another, but they are always so many blemishes, which, however, both in the one case and in the other, cease to appear deformities to those who have them continually before their eyes. In the works of art, even the most enlightened mind, when warmed by beauties of the highest kind, will by degrees find a repugnance within him to acknowledge any defects; nay, his enthusiasm will carry him so far as to transform them into beauties and objects of imitation. ”

“ The addition of other men's judgment is so far from weakening our own, as is the opinion of many, that it will fashion and consolidate those ideas of excellence which lay in embryo—feeble, ill-shaped, and confused—but which are finished and put in order by the authority and practice of those whose works may be said to have been consecrated by having stood the test of ages.
The mind, or genius, has been compared to a spark of fire, which is smothered by a heap of fuel, and prevented from blazing into a flame. ”

“ Vitruvius, after going through the many accomplishments of nature, and the many acquirements of learning, necessary to an architect, proceeds with great gravity to assert that he ought to be well skilled in the civil law; that he may not be cheated in the title of the ground he builds on. But without such exaggeration we may go so far as to assert that a painter stands in need of more knowledge than is to be picked off his palette, or collected by looking on his model, whether it be in life or in picture. He can never be a great artist, who is grossly illiterate. ”

“ If we put those great artists in a light of comparison with each other, Raffaelle had more taste and fancy, Michael Angelo more genius and imagination. The one excelled in beauty, the other in energy. Michael Angelo has more of the poetical inspiration; his ideas are vast and sublime; his people are a superior order of beings; there is nothing about them, nothing in the air of their actions or their attitudes, or the style and cast of their very limbs or features, that puts one in mind of their belonging, to our own species. Raffaelle’s imagination is not so elevated ”

“ The poorest of men, as he observed himself, did not labour from necessity more than he did from choice. Indeed, from all the circumstances related of his life, he appears not to have had the least conception that his art was to be acquired by any other means than great labour; and yet he, of all men that ever lived, might make the greatest pretensions to the efficacy of native genius and inspiration. I have no doubt that he would have thought it no disgrace that it should be said of him, as he himself said of Raffaelle, that he did not possess his art from nature, but by long study. ”

“ The impetuosity of youth is disgusted at the slow approaches of a regular siege, and desires, from mere impatience of labour, to take the citadel by storm. They wish to find some shorter path to excellence, and hope to obtain the reward of eminence by other means than those, which the indispensable rules of art have prescribed. They must therefore be told again and again, that labour is the only price of solid fame, and that whatever their force of genius may be, there is no easy method of becoming a good painter. ”

“ On whom, then, can he rely, or who shall show him the path that leads to excellence? The answer is obvious: Those great masters who have travelled the same road with success are the most likely to conduct others. The works of those who have stood the test of ages have a claim to that respect and veneration to which no modern can pretend. The duration and stability of their fame is sufficient to evince that it has not been suspended upon the slender thread of fashion and caprice, but bound to the human heart by every tie of sympathetic approbation. ”

“ He is, however, in this case likely enough to sit down contented with his own work, for though he finds the world look at it with indifference or dislike, as being destitute of every quality that can recreate or give pleasure to the mind, yet he consoles himself that it has simplicity, a beauty of too pure and chaste a nature to be relished by vulgar minds.
It is in art as in morals; no character would inspire us with an enthusiastic admiration of his virtue, if that virtue consisted only in an absence of vice; something more is required; a man must do more than merely his duty to be a hero. ”

“ He gives us a peculiar cast of nature, which, though void of all grace, elegance, and simplicity, though it has nothing of that elevation and dignity which belongs to the grand style, yet has that sort of dignity which belongs to savage and uncultivated nature: but what is most to be admired in him is the perfect correspondence which he observed between the subjects which he chose and his manner of treating them. Everything is of a piece: his rocks, trees, sky, even to his handling, have the same rude and wild character which animates his figures. ”

“ Thus, if a portrait painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent, which has annexed to it no ideas of meanness from its being familiar to us. But if an exact resemblance of an individual be considered as the sole object to be aimed at, the portrait painter will be apt to lose more than he gains by the acquired dignity taken from general nature. ”

“ Without wishing to divert the Student from the practice of his Art to speculative theory, to make him a mere Connoisseur instead of a Painter, I cannot but remark, that he will certainly find an account in considering, once for all, on what ground the fabric of our art is built. Uncertain, confused, or erroneous opinions are not only detrimental to an Artist in their immediate operation, but may possibly have very serious consequences; affect his conduct, and give a peculiar character (as it may be called) to his taste, and to his pursuits, through his whole life. ”

“ Comparing now no longer the performances of Art with each other, but examining the Art itself by the standard of nature, he corrects what is erroneous, supplies what is scanty, and adds by his own observation what the industry of his predecessors may have yet left wanting to perfection. Having well established his judgment, and stored his memory, he may now without fear try the power of his imagination. The mind that has been thus disciplined, may be indulged in the warmest enthusiasm, and venture to play on the borders of the wildest extravagance. ”

“ Though painting and sculpture are, like many other arts, governed by the same general principles, yet in the detail, or what may be called the by-laws of each art, there seems to be no longer any connection between them. The different materials upon which those two arts exert their powers must infallibly create a proportional difference in their practice. There are many petty excellences which the painter attains with ease, but which are impracticable in sculpture; and which, even if it could accomplish them, would add nothing to the true value and dignity of the work. ”

“ I have taken another course, one more suited to my abilities, and to the taste of the times in which I live. Yet however unequal I feel myself to that attempt, were I now to begin the world again, I would tread in the steps of that great master: to kiss the hem of his garment, to catch the slightest of his perfections, would be glory and distinction enough for an ambitious man. ”

“ To find excellencies, however dispersed; to discover beauties, however concealed by the multitude of defects with which they are surrounded, can be the work only of him, who, having a mind always alive to his art, has extended his views to all ages and to all schools, and has acquired from that comprehensive mass which he has thus gathered to himself—a well-digested and perfect idea of his art, to which everything is referred. Like a sovereign judge and arbiter of art, he is possessed of that presiding power which separates and attracts every excellence from every school ”

“ It is, I know, a delicate and hazardous thing (and, as such, I have already pointed it out) to carry the principles of one art to another, or even to reconcile in one object the various modes of the same art, when they proceed on different principles. The sound rules of the Grecian Architecture are not to be lightly sacrificed. A deviation from them, or even an addition to them, is like a deviation or addition to, or from, the rules of other Arts—fit only for a great master, who is thoroughly conversant in the nature of man, as well as all combinations in his own Art. ”

“ The great end of the art is to strike the imagination. The Painter, therefore, is to make no ostentation of the means by which this is done; the spectator is only to feel the result in his bosom. An inferior artist is unwilling that any part of his industry should be lost upon the spectator. He takes as much pains to discover, as the greater artist does to conceal, the marks of his subordinate assiduity. In works of the lower kind everything appears studied and encumbered; it is all boastful art and open affectation. ”

“ Could we teach taste or genius by rules, they would be no longer taste and genius. But though there neither are, nor can be, any precise invariable rules for the exercise, or the acquisition, of these great qualities, yet we may truly say, that they always operate in proportion to our attention in observing the works of Nature, to our skill in selecting, and to our care in digesting, methodising, and comparing our observations. There are many beauties in our art that seem, at first, to lie without the reach of precept, and yet may easily be reduced to practical principles. ”