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
This then is the programme of work which must be adopted by any serious
aspirant to fame in the art of the painter, and it is perhaps not
surprising that the number of artists who survive the ordeal is strictly
limited. In any walk of life where years of struggle are necessary for
success, how small the proportion of men who persevere to the end; who
present a steel wall to misfortune and despair, and with an indomitable
will, overcome care, and worry, and fatigue, for year after year, till
at last the clouds disappear, and they are able to front the world with
an all-powerful shield of radiant knowledge! But unfortunately in the
painter's art it is difficult to convince students of the necessity for
long and hard study, because there is no definite standard for measuring
success or failure which they can grasp without long experience. In
industries where knowledge is applied to improvement in appliances, or
methods with definite ends, or to the realization of projects having a
fixed scope, failure is determined by material results measured commonly
by mathematical processes of one kind or another. A man produces a new
alloy which he claims will fulfil a certain purpose. It is tested by
recognized means: all concerned admit the validity of the test, and
there the matter ends. But in the arts, while the relative value of the
respective grades is equally capable of demonstration, the test is of a
different kind. Instead of weights and measures which every man can
apply, general experience must be brought in. The individual may be
right in his judgment, and commonly is, but he is unable to measure the
evidence of his senses by material demonstration, and as he has no means
of judging whether his senses are normal, except by comparison, he is
liable to doubt his own experience if it clash with that of others.
Thus, he may find but little beauty in a given picture, and then may
read or hear that the work has a high æsthetic value, and without
calling to mind the fact that no evidence in the matter is conclusive
unless it be based on general experience, he is liable to believe that
his own perception is in some way deficient.
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