Reflections on the painting and sculpture of the Greeks : $b with instructions for the connoisseur, and an essay on grace in works of artWinckelmann, Johann Joachim
Philosophy
Reflections on the painting and sculpture of the Greeks : $b with instructions for the connoisseur, and an essay on grace in works of art
Winckelmann, Johann Joachim
Aesthetics -- Early works to 1800; Art -- Philosophy; Art, Greek
Let any one, sagacious enough to pierce into the depths of art, compare
the whole system of the Greek figures with that of the moderns, by which,
as they say, nature alone is imitated; good heaven! what a number of
neglected beauties will he not discover!
For instance, in most of the modern figures, if the skin happens to be
any where pressed, you see there several little smart wrinkles: when,
on the contrary, the same parts, pressed in the same manner on Greek
statues, by their soft undulations, form at last but one noble pressure.
These master-pieces never shew us the skin forcibly stretched, but softly
embracing the firm flesh, which fills it up without any tumid expansion,
and harmoniously follows its direction. There the skin never, as on
modern bodies, appears in plaits distinct from the flesh.
Modern works are likewise distinguished from the antient by parts; a
crowd of small touches and dimples too sensibly drawn. In antient works
you find these distributed with sparing sagacity, and, as relative to
a completer and more perfect Nature, offered but as hints, nay, often
perceived only by the learned.
The probability still increases, that the bodies of the Greeks, as well
as the works of their artists, were framed with more unity of system, a
nobler harmony of parts, and a completeness of the whole, above our lean
tensions and hollow wrinkles.
Probability, ’tis true, is all we can pretend to: but it deserves the
attention of our artists and connoisseurs the rather, as the veneration
professed for the antient monuments is commonly imputed to prejudice, and
not to their excellence; as if the numerous ages, during which they have
mouldered, were the only motive for bestowing on them exalted praises,
and setting them up for the standards of imitation.
Such as would fain deny to the Greeks the advantages both of a more
perfect Nature and of ideal Beauties, boast of the famous _Bernini_,
as their great champion. He was of opinion, besides, that Nature was
possessed of every requisite beauty: the only skill being to discover
that. He boasted of having got rid of a prejudice concerning the Medicean
Venus, whose charms he at first thought peculiar ones; but, after many
careful researches, discovered them now and then in Nature[7].
Public-domain text, read in full here on John Shaqi.
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