Sir Joshua Reynolds' Discourses: Edited, with an Introduction, by Helen ZimmernReynolds, Joshua, Sir
General
Sir Joshua Reynolds' Discourses: Edited, with an Introduction, by Helen Zimmern
Reynolds, Joshua, Sir
Art
It may not be improper to make mention of some of the customs and
habits of this extraordinary man; points which come more within the
reach of an observer: I, however, mean such only as are connected with
his art, and indeed were, as I apprehend, the causes of his arriving
to that high degree of excellence which we see and acknowledge in his
works. Of these causes we must state, as the fundamental, the love
which he had to his art; to which, indeed, his whole mind appears to
have been devoted, and to which everything was referred; and this we
may fairly conclude from various circumstances of his life, which were
known to his intimate friends. Among others, he had a habit of
continually remarking to those who happened to be about him whatever
peculiarity of countenance, whatever accidental combination of figure,
or happy effects of light and shadow, occurred in prospects, in the
sky, in walking the streets, or in company. If, in his walks, he found
a character that he liked, and whose attendance was to be obtained, he
ordered him to his house: and from the fields he brought into his
painting-room stumps of trees, weeds, and animals of various kinds;
and designed them, not from memory, but immediately from the objects.
He even framed a kind of model of landscapes on his table; composed of
broken stones, dried herbs, and pieces of looking-glass, which he
magnified and improved into rocks, trees, and water. How far this
latter practice may be useful in giving hints, the professors of
landscape can best determine. Like every other technical practice, it
seems to me wholly to depend on the general talent of him who uses it.
Such methods may be nothing better than contemptible and mischievous
trifling; or they may be aids. I think, upon the whole, unless we
constantly refer to real nature, that practice may be more likely to
do harm than good. I mention it only, as it shows the solicitude and
extreme activity which he had about everything that related to his
art; that he wished to have his objects embodied, as it were, and
distinctly before him; that he neglected nothing which could keep his
faculties in exercise, and derived hints from every sort of combination.
Public-domain text, read in full here on John Shaqi.
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