FREE BOOKS

Author's List




PREV.   NEXT  
|<   18   19   20   21   22   23   24   25   26   27   28   29   30   31   32   33   34   35   36   37   38   39   40   41   42  
43   44   45   46   47   48   49   50   51   52   53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   >>   >|  
to enable us to realise the scene, all possibility of artistic pleasure is destroyed by our seeing an object in the air which, after some difficulty, we decipher as a human being plunging downward from the clouds. Instead of making this figure, which, by the way, is meant to represent God the Father, plunge toward us, Uccello deliberately preferred to make it dash inward, away from us, thereby displaying his great skill in both perspective and foreshortening, but at the same time writing himself down as the founder of two families of painters which have flourished ever since, the artists for dexterity's sake--mental or manual, it scarcely matters--and the naturalists. As these two clans increased rapidly in Florence, and, for both good and evil, greatly affected the whole subsequent course of Florentine painting, we must, before going farther, briefly define to ourselves dexterity and naturalism, and their relation to art. [Page heading: ART FOR DEXTERITY'S SAKE] The essential in painting, especially in figure-painting, is, we agreed, the rendering of the tactile values of the forms represented, because by this means, and this alone, can the art make us realise forms better than we do in life. The great painter, then, is, above all, an artist with a great sense of tactile values and great skill in rendering them. Now this sense, though it will increase as the man is revealed to himself, is something which the great painter possesses at the start, so that he is scarcely, if at all, aware of possessing it. His conscious effort is given to the means of rendering. It is of means of rendering, therefore, that he talks to others; and, because his triumphs here are hard-earned and conscious, it is on his skill in rendering that he prides himself. The greater the painter, the less likely he is to be aware of aught else in his art than problems of rendering--but all the while he is communicating what the force of his genius makes him feel without his striving for it, almost without his being aware of it, the material and spiritual significance of forms. However--his intimates hear him talk of nothing but skill; he seems to think of nothing but skill; and naturally they, and the entire public, conclude that his skill is his genius, and that skill _is_ art. This, alas, has at all times been the too prevalent notion of what art is, divergence of opinion existing not on the principle, but on the kind of dexterity to be prized, ea
PREV.   NEXT  
|<   18   19   20   21   22   23   24   25   26   27   28   29   30   31   32   33   34   35   36   37   38   39   40   41   42  
43   44   45   46   47   48   49   50   51   52   53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   >>   >|  



Top keywords:

rendering

 
dexterity
 

painter

 
painting
 

conscious

 

tactile

 
values
 

scarcely

 

genius

 

figure


realise

 
possesses
 

revealed

 

increase

 

possessing

 

effort

 

prevalent

 
existing
 

principle

 

prized


opinion

 

notion

 

artist

 

divergence

 

naturally

 
public
 
entire
 

material

 
However
 

significance


striving
 

intimates

 

communicating

 

earned

 
triumphs
 

spiritual

 

prides

 

problems

 
conclude
 

greater


naturalism

 
preferred
 

deliberately

 

Uccello

 

Father

 
plunge
 

displaying

 
founder
 

families

 

painters