Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter — John Shaqi
Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the PainterGovett, Ernest
Philosophy
Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter
Govett, Ernest
Art; Painting
Strong is the root of art, though frail the flower. Stifled in sun-burnt
ground ere it can welcome the smile of light; fading with the first
blast of air upon its delicate shoots; shrivelling back to dust when the
buds are ready to break; or falling in the struggle to spread its
branches after its beautiful blossoms have scattered their fragrance
around: whatever condition has brought it low, it ever fights
again--ever seeks to assure mankind that while it may droop or
disappear, its seed, its heart, its life, are imperishable, and surely
it will bloom again in all its majesty. Sometimes with decades it has
run a fitful course; sometimes with centuries; sometimes with
millenniums. It has heralded every civilization, but its breath is
freedom, and it flourishes and sickens only with liberty. Trace its
course in the life of every nation, and the track will be found parallel
with the line of freedom of thought. A solitary plant may bloom
unimpeded far from tyranny's thrall, but the art and soul of a nation
live, and throb, and die, together.
[Illustration: PLATE 1 (See page 7)
Head of Cephren, 4th Egyptian Dynasty (_Cairo Museum_)
Chaldean Head: About 2600 B.C. (_Louvre_)]
Egypt, Babylon, Crete, Greece, Rome, tell their stories through
deathless monuments, and all are alike in that they demonstrate the
dependence of art expansion upon freedom of action and opinion. An art
rises, develops another and another, and they proceed together on their
way. Sooner or later comes catastrophe in the shape of crushing
tyranny which curbs the mind with slavery, or steel-bound sacerdotal
rules which say to the artist "Thou shalt go no further," or
annihilation of nation and life. What imagination can picture the
expansion of art throughout the world had its flight been free since the
dawn of history? Greece reached the sublime because its mind was
unfettered, but twenty or thirty centuries before Phidias, Egyptian art
had arrived at a loftier plane than that on which the highest plastic
art of Greece was standing but a few decades before the Olympian Zeus
uplifted the souls of men, while whole civilizations with their arts had
lived and died, and were practically forgotten.
Public-domain text, read in full here on John Shaqi.
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