Italian painting

“ However that be, Raphael in the glorious years from 1500 to 1512 resumes and perfects every gentle, orderly, and reasonable strain in Italian painting. Whether in portraiture or narrative, in mythology or symbolism, in pictures of the Madonna or in pure decoration, he gave to Italian painting its final stamp. He achieved a grandeur of space composition akin to the movement of a symphony, a hidden structure more appealing than any separate hue or form. His best work rests on a great humility, and his later pride went far towards undoing him as an artist. ”

“ Thus it often happens that we are tempted to exaggerate the historical importance of one painter because he touches us by some peculiar quality, and to over-estimate the intrinsic value of another because he was a motive power in his own age. Both these temptations should be resolutely resisted by the student who is capable of discerning different kinds of excellence and diverse titles to affectionate remembrance. Tracing the history of Italian painting is like pursuing a journey down an ever-broadening river, whose affluents are Giotto and Masaccio, Ghirlandajo, Signorelli, and Mantegna. ”

“ As before remarked, the Italian genius appears to have been primarily a genius for painting, and in this field the conditions all conspired to produce results that were without precedent for excellence, and that still remain unrivalled. Yet here, too, we shall need to discriminate. Italian painting of the sixteenth century presents a variety of phases that are by no means of equal merit, and the noblest forms of it show the least of the essentially Renaissance spirit. ”

“ Men and women they are truly, but the very noblest of the Italian race, the mountain race of the Cadore country—proud, active, glowing with life; the sea race of Venice—worldly wise, full of character, luxurious in power.
In himself he was an epitome of all the excellences of painting. He was everything, the sum of Venetian skill, the crowning genius of Renaissance art. He had force, power, invention, imagination, point of view; he had the infinite knowledge of nature and the infinite mastery of art. ”

“ At the same time, there can be no doubt that modern Italian art is in many respects as bad as it was once good. I will confine myself to painting only. The modern Italian painters, with very few exceptions, paint as badly as we do, or even worse, and their motives are as poor as is their painting. At an exhibition of modern Italian pictures, I generally feel that there is hardly a picture on the walls but is a sham—that is to say, painted not from love of this particular subject and an irresistible desire to paint it, but from a wish to paint an academy picture, and win money or applause. ”

“ What the genius of Italian sculpture had for generations been striving after, finds its perfect realisation here. It was precisely by thus crowning the endeavours of antecedent artists—by bringing the opening buds of painting and sculpture to full blossom, and exhausting the resources of a long sustained and common inspiration, that the great masters proved their supremacy and rendered an advance beyond their vantage ground impossible. ”

“ It was the Greek potter who taught the sculptor that restraining influence of design which was the glory of the Parthenon; it was the Italian decorator of chests and household goods who kept Venetian painting always true to its primary pictorial condition of noble colour. For we should remember that all the arts are fine arts and all the arts decorative arts. The greatest triumph of Italian painting was the decoration of a pope’s chapel in Rome and the wall of a room in Venice. ”

“ But there has been no true restoration of Italian art. The painting of Italy in our time has been largely a commercial enterprise rather than an outcome from artistic genius or impulse, and the few works which are exceptions to this rule are not sufficient to encourage the hope that this nation can again attain to her former rank or regain the fame of her past in the history of modern art. ”

“ But for the effects of the Renaissance in Italy in the fifteenth century it is questionable whether painting would ever have spread as it did in the sixteenth and seventeenth to Spain and France. But by the close of the fifteenth century such enormous progress had been made by the Italian painters towards the realisation of human action and emotion in pictures, that from being merely an accessory of religious establishments, painting had become as much a part of the recognised means of intellectual enjoyment of everyday life as music, sculpture, or even the refinements of food and clothing. ”

“ This being in general the task assigned to art in the Renaissance, we may next inquire what constituted the specific quality of modern as distinguished from antique feeling, and why painting could not fail to take the first place among modern arts. In other words, how was it that, while sculpture was the characteristic fine art of antiquity, painting became the distinguishing fine art of the modern era? No true form of figurative art intervened between Greek sculpture and Italian painting. ”

“ And while the modern world will hardly return to the coherence, solidity, and grace of the great Gothic and Renaissance masters, I am confident that there can be no exit from our present confusion and incoherence until our painters learn at least to consult those great Italian predecessors who dwelt on the heights above which is the abode of the human spirit’s creative rest. ”

“ Before the commencement of the eighteenth century the decline of the Renaissance school in Italy had begun; in fact, the painting of the seventeenth century came to be mere mechanical realism. For this reason the portraits were the best pictures of the time, as in them it was requisite to be true to the object represented.
Late in the eighteenth century a new impulse was given to Italian painting, chiefly through the influence of foreign artists such as Raphael Mengs, and the French painter David. ”

“ Of the Italians of his day, for instance, no man realised the beauty of physical form and the possibility of expressing it by means of pigment and brush, more than Guido, the father of Italian painting. ”

“ This decision virtually fixed the character of Christian art in Italy—it was 19to be warm and humanistic, but it was to revive much of that abstract nobility which old Rome had inherited from Greece. Thus Italian painting at the outset took a classic stamp which when true to itself it has never lost. In fundamental ideas of beauty, there is no real difference between Giotto, Masaccio, Leonardo da Vinci, Raphael, Titian, Michelangelo. ”

“ If the serene intelligence of a Raphael had not found emotions to fill such forms, if Michelangelo himself in his later years falls back on a monotonous formula of terribleness, what hope was there for such uninspired imitators as the Venustis, Volterras, and Vasaris? One and all, they entertained monstrous delusions of effortless attainment—cleverly contorted their nudes, shrewdly calculated their terrors. And the Roman art of the Golden Age, forgetting both the wise humility of Umbria and the reasonable pride of Florence, suddenly collapsed in the ugliest and most irrational ostentation. ”

“ But be this as it may, it is one of the singular richnesses of the Italian Renaissance that it knew of both tendencies; that while in painting it gave the equivalent of that rigid idealism of the Greeks which can make no compromise with ugliness; in sculpture it possessed the equivalent of the realism of Velasquez, which can make beauty out of ugly things, even as the chemist can make sugar out of vitriol. ”

“ In pursuing this plan I shall endeavour to show how the successive stages in the evolution of Italian painting corresponded to similar stages in the history of the Renaissance. Beginning as the handmaid of the Church, and stimulated by the enthusiasm of the two great popular monastic orders, painting was at first devoted to embodying the thoughts of mediæval Christianity. In proportion as the painters fortified themselves by study of the natural world, their art became more secular. Mysticism gave way to realism. ”

“ So also the brilliant period of Italian painting, when the mental movement represented by Leonardo da Vinci, Michael Angelo, Lorenzo de Medici, and the pleasure-loving existence, the brilliant fêtes, in which noble men and beautifully appareled women performed all sorts of allegorical representations, and the colors, groupings, etc., afforded the painter an endless variety of material and suggestion. ”

“ It may, indeed, be argued that devotional painting in Italy had assumed, in the sixteenth century, a stereotyped form from which a stronger genius than Correggio’s could hardly have freed it; and that the triumphs of that day should be sought rather in the domain of decorative art, where conventionality becomes a strength, and where the æsthetic imagination finds expression in combinations of mere line and colour. Many of the decorative paintings of the sixteenth century are indeed among the most delightful products of Italian art ”

“ The spirit of imitation, conscious and unabashed, was of the very life blood of the movement, and it was in their devotion to that period in Italian painting which preceded the crowning glory of the Renaissance that the artists whose work constitutes the most important contribution to the painting of modern Europe were led to a stricter veracity in the rendering of the facts in nature which they sought to interpret. ”

“ I doubt if we have the gift you, and the Flemings also, have for painting. Our literature is as far above that of this northern people as heaven is above the earth, and our sculpture, of course, is unrivalled; but they have the gift of music, and of architecture, and of painting—the two last marvellously developed. And in the first I think your people—I do not mean Venetians, but some of your other Italian neighbors—have just now reached a good climax. At Milan I heard some chanting that would put us to shame, and even here I have heard something not unlike it. ”

“ All objects, human and inanimate, bear firmly on the ground and are wrapped in an enveloping atmosphere. In the quality and arrangement of the figures, it all derives from Giotto; in the vastness of the scale, the introduction of mystery and distance, it is wholly Masaccio’s own. Vasari rightly praised the harmony and discretion with which these powerful assertions of form are made, and sees here the beginnings of the modern style of painting. ”

“ Here they have never flourished in the genial soil of popular institutions. A haughty and jealous, yet luxurious and unpatriotic aristocracy, converted the arts into instruments of private gratification—instead of turning them to national ornament. Hence sculpture has been little cultivated, architecture more, though in peculiar style, and painting most of all. But while the sacredness of religion, or the manliness of history, has occupied the Italian pencil generally, of the older masters especially, Venice has sent forth her lordly senators, splendid banquets, and naked beauties. ”

“ You feel that they have had loving care taken of them; even if spoiled, it is because they have been valued so much. But these pictures in Italian galleries look rusty and lustreless, as far as the exterior is concerned; and, really, the splendor of the painting, as a production of intellect and feeling, has a good deal of difficulty in shining through such clouds. ”

“ As Italian painting is a profound and natural development from Greek and Roman art, certainly influenced by life, but in no doubt of its parentage; so are the Italian churches a very beautiful and subtle development of pagan architecture, influenced by life not less profoundly than painting has been, but certainly as sure of their parentage, and, as we shall see, not less assured of their intention. ”

“ After the decline of Greek art fifteen centuries elapsed before painting was again raised to the rank which the Greeks had given it, and if, according to our ideas, the later Italian painting is in any sense superior to the Greek, we must at least admit that the study of the works of antiquity which still remained in Italy, excited the great masters of the Renaissance to the splendid achievements which they attained. ”

“ Italian painting from Giotto to Carpaccio is all religious painting; and it moves us deeply and has real greatness. Compare with it the attempts of our painters a century ago to achieve the effects of the old masters by imitation when they should have been illustrating a faith of their own. ”

“ In his broad and flexible insight, his love of mankind, his clear perceptions of aims and ready acceptance of limitations, in his pathos without exaggeration, in his constructive skill without ostentation, in his simplicity without bareness, he is the authentic and indispensable link between 42the beauty of Greece and Rome and that of the Italian Golden Age. To know him is to know almost everything that is needful about older European painting, not to know him is to lack the very rudiments of an artistic education. ”

“ The Italian artist tended to regard himself as a swift and resolute executant first of all, and no longer knew how to nourish 470his spirit as a man. Even as executants, the realists and eclectics had the humiliation of finding themselves outdone by foreigners. Successively in the seventeenth century Ribera, Rubens, Van Dyck, Velasquez, Claude Lorrain and Poussin came to Italy and sojourned there. It was in every case apparent that the foreigner excelled all native artists in his field. The traditional authority of Italian painting still held, but its contemporary glory was evidently waning. ”