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
we obtain but little more than a record, though it be of absorbing
historical interest.
[a] Pitti Palace, Florence.
[b] Naples Museum.
[c] National Gallery, London.
[d] The Four Philosophers, or Lipsius and his Disciples, Pitti Palace.
[e] National Gallery, London.
It is observable that as a rule portraitists have been more successful
with delineations of men than of women. This is to be accounted for by
the necessity for subordinating the representation of character to the
art in the case of women unless they have passed the prime of life;
while with men the art is usually subordinated to the portrait,
character being sought independently of sensorial beauty. Strictly it is
the duty of the artist to make his portrait, whether of a man or a
woman, sensorially attractive, but here again in portraiture custom and
convention have to be considered with the rules of art. It is agreed
that with a woman sensorial beauty must be produced if that be possible,
even with the sacrifice of certain elements of character; but with a man
the portrait must be recognized by the acquaintances of the subject as
corresponding in most details with his life appearance. The future of
the portrait is out of the question for the time being. Nevertheless the
painter has certain advantages in dealing with the features of a man,
for the presence of lines in the brow, or other evidence of experience,
does not interfere with the nobility or dignity which may be added to
his general bearing; but what would be lines in the countenance of a man
would be wrinkles in that of a woman, because here they can scarcely be
neutralized by attitude and expression which imply strength of
character, without destroying what is best described as womanly charm,
which is a compulsory feature in every woman's portrait. With a man
therefore the portraitist considers character first and emphasizes
qualities of form within his power; while with a woman, during the
period of her bloom, beauty of form and feature must be the first care
of the artist, unconflicting qualities of character being emphasized or
added.
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