Lectures on Landscape. Ruskin JohnЧитать онлайн книгу.
limestone rock at the bottom.
Had this scene been in America, no mortal could have made a landscape of it. It is nothing but a grass bank with some not very pretty trees scattered over it, wholly without grouping. The stream at the bottom is rocky indeed, but its rocks are mean, flat, and of a dull yellow color. The sky is gray and shapeless. There's absolutely nothing to paint anywhere of essential landscape subject, as commonly understood.
Now see what the landscape consists in, which I have told you is one of the most beautiful ever painted by man. There's first a little bit of it left nearly wild, not quite wild; there's a cart and rider's track through it among the copse; and then, standing simply on the wild moss-troopers' ground, the scattered ruins of a great abbey, seen so dimly, that they seem to be fading out of sight, in color as in time.
These two things together, the wild copse wood and the ruin, take you back into the life of the fourteenth century. The one is the border-riders' kingdom; the other that of peace which has striven against border-riding—how vainly! Both these are remains of the past. But the outhouses and refectory of the abbey have been turned into a farmhouse, and that is inhabited, and in front of it the Mistress is feeding her chickens. You see the country is perfectly quiet and innocent, for there is no trace of a fence anywhere; the cattle have strayed down to the riverside, it being a hot day; and some rest in the shade and two in the water.
They could not have done so at their ease had the river not been humanized. Only a little bit of its stony bed is left; a mill weir, thrown across, stays the water in a perfectly clear and delicious pool; to show how clear it is, Turner has put the only piece of playing color in all the picture into the reflections in this. One cow is white, another white and red, evidently as clean as morning dew can wash their sides. They could not have been so in a country where there was the least coal smoke; so Turner has put a wreath of perfectly white smoke through the trees; and lest that should not be enough to show you they burnt wood, he has made his foreground of a piece of copse just lopped, with the new fagots standing up against it; and this still not being enough to give you the idea of perfect cleanliness, he has covered the stones of the river-bed with white clothes laid out to dry; and that not being enough yet, for the river-bed might be clean though nothing else was, he has put a quantity more hanging over the abbey walls.
9. Only natural phenomena in their direct relation to humanity—these are to be your subjects in landscape. Rocks and water and air may no more be painted for their own sakes, than the armor carved without the warrior.
But, secondly. I said landscape is to be a passionate representation of these things. It must be done, that is to say, with strength and depth of soul. This is indeed to some extent merely the particular application of a principle that has no exception. If you are without strong passions, you cannot be a painter at all. The laying of paint by an insensitive person, whatever it endeavors to represent, is not painting, but daubing or plastering; and that, observe, irrespective of the boldness or minuteness of the work. An insensitive person will daub with a camel's hair-brush and ultramarine; and a passionate one will paint with mortar and a trowel.
10. But far more than common passion is necessary to paint landscape. The physical conditions there are so numerous, and the spiritual ones so occult, that you are sure to be overpowered by the materialism, unless your sentiment is strong. No man is naturally likely to think first of anatomy in painting a pretty woman; but he is very apt to do so in painting a mountain. No man of ordinary sense will take pleasure in features that have no meaning, but he may easily take it in heath, woods or waterfalls, that have no expression. So that it needs much greater strength of heart and intellect to paint landscape than figure: many commonplace persons, bred in good schools, have painted the figure pleasantly or even well; but none but the strongest—John Bellini, Titian, Velasquez, Tintoret, Mantegna, Sandro Botticelli, Carpaccio and Turner—have ever painted a fragment of good landscape. In missal painting exquisite figure-drawing is frequent, and landscape backgrounds in late works are elaborate; but I only know thoroughly good landscape in one book; and I have examined—I speak deliberately—thousands.
11. For one thing, the passion is necessary for the mere quantity of design. In good art, whether painting or sculpture, I have again and again told you every touch is necessary and beautifully intended. Now it falls within the compass of ordinary application to place rightly all the folds of drapery or gleams of light on a chain, or ornaments in a pattern; but when it comes to placing every leaf in a tree, the painter gets tired. Here, for instance, is a little bit of Sandro Botticelli background; I have purposefully sketched it in the slightest way, that you might see how the entire value of it depends on thoughtful placing. There is no texture aimed at, no completion, scarcely any variety of light and shade; but by mere care in the placing the thing is beautiful. Well, every leaf, every cloud, every touch is placed with the same care in great work; and when this is done as by John Bellini in the picture of Peter Martyr,2 or as it was by Titian in the great Peter Martyr, with every leaf in a wood he gets tired. I know no other such landscape in the world as that is, or as that was.
12. Perhaps you think on such conditions you never can paint landscape at all. Well, great landscape certainly not; but pleasant and useful landscape, yes; provided only the passion you bring to it be true and pure. The degree of it you cannot command; the genuineness of it you can—yes, and the depth of source also. Tintoret's passion may be like the Reichenbach, and yours only like a little dripping Holywell, but both equally from deep springs.
13. But though the virtue of all painting (and similarly of sculpture and every other art) is in passion, I must not have you begin by working passionately. The discipline of youth, in all its work, is in cooling and curbing itself, as the discipline of age is in warming and urging itself; you know the Bacchic chorus of old men in Plato's Laws. To the end of life, indeed, the strength of a man's finest nature is shown in due continence; but that is because the finest natures remain young to the death: and for you the first thing you have to do in art (as in life) is to be quiet and firm—quiet, above everything; and modest, with this most essential modesty, that you must like the landscape you are going to draw better than you expect to like your drawing of it, however well it may succeed. If you would not rather have the real thing than your sketch of it, you are not in a right state of mind for sketching at all. If you only think of the scene, "what a nice sketch this will make!" be assured you will never make a nice sketch of it. You may think you have produced a beautiful work; nay, perhaps the public and many fair judges will agree with you; but I tell you positively, there will be no enduring value in what you have thus done. Whereas if you think of the scene, "Ah, if I could only get some shadow or scrawl of this to carry away with me, how glad I should be!"—then whatever you do will be, according to your strength, good and progressive: it may be feeble, or much faultful, but it will be vital and essentially precious.
14. Now, it is not possible for you to command this state of mind, or anything like it, in yourselves at once. Nay, in all probability your eyes are so satiated by the false popular art surrounding us now on all sides, that you cannot see the delicate reality though you try; but even though you may not care for the truth, you can act as if you did, and tell it.
Now, therefore, observe this following quite plain direction. Whenever you set yourself to draw anything, consider only how best you may give a person who has not seen the place, a true idea of it. Use any means in your power to do that, and don't think of the person for whom you are drawing as a connoisseur, but as a person of ordinary sense and feeling. Don't get artist-like qualities for him: but first give him the pleasant sensation of being at the place, then show him how the land lies, how the water runs, how the wind blows, and so on. Always think of the public as Molière of his old woman; you have done nothing really great or good if you can't please her.
15. Now beginning wisely, so as to lose no time or labor, you will learn to paint all the conditions of quiet light and sky, before you attempt those of variable light and cloud. Do not trouble yourselves with or allow yourselves to be tempted by any effects that are brilliant or tremendous; except only that from the beginning I recommend you to watch always for sunrise; to keep a little diary of the manner of it, and to have beside your window a small sketch-book, with pencil cut over night, and colors moist. The one indulgence which I would have you allow yourselves in fast coloring, for some time, is the endeavor to secure some record at the
National Gallery, No. 812.