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
I must inform you, however, that old pictures, deservedly celebrated
for their colouring, are often so changed by dirt and varnish that we
ought not to wonder if they do not appear equal to their reputation in
the eyes of unexperienced painters, or young Students. An artist whose
judgment is matured by long observation considers rather what the
picture once was than what it is at present. He has by habit acquired
a power of seeing the brilliancy of tints through the cloud by which
it is obscured. An exact imitation, therefore, of those pictures is
likely to fill the Student's mind with false opinions, and to send him
back a colourist of his own formation, with ideas equally remote from
nature and from art, from the genuine practice of the masters and the
real appearances of things.
Following these rules, and using these precautions, when you have
clearly and distinctly learned in what good colouring consists, you
cannot do better than have recourse to nature herself, who is always
at hand, and in comparison of whose true splendour the best coloured
pictures are but faint and feeble.
However, as the practice of copying is not entirely to be excluded,
since the mechanical practice of painting is learned in some measure by
it, let those choice parts only be selected which have recommended the
work to notice. If its excellence consists in its general effect, it
would be proper to make slight sketches of the machinery and general
management of the picture. Those sketches should be kept always by you
for the regulation of your style. Instead of copying the touches of
those great masters, copy only their conceptions. Instead of treading in
their footsteps, endeavour only to keep the same road. Labour to invent
on their general principles and way of thinking. Possess yourself with
their spirit. Consider with yourself how a Michel Angelo or a Raffaelle
would have treated this subject, and work yourself into a belief that
your picture is to be seen and criticised by them when completed. Even
an attempt of this kind will rouse your powers.
Public-domain text, read in full here on John Shaqi.
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