The Analysis of Beauty: Written with a view of fixing the fluctuating ideas of tasteHogarth, William
Philosophy
The Analysis of Beauty: Written with a view of fixing the fluctuating ideas of taste
Hogarth, William
Aesthetics -- Early works to 1800
The reason why gentlemen, who have been inquisitive after knowledge in
pictures, have their eyes less qualified for our purpose, than others,
is because their thoughts have been entirely and continually employ'd
and incumber'd with considering and retaining the various _manners_ in
which pictures are painted, the histories, names, and characters of the
masters, together with many other little circumstances belonging to the
mechanical part of the art; and little or no time has been given for
perfecting the ideas they ought to have in their minds, of the objects
themselves in nature: for by having thus espoused and adopted their
first notions from nothing but _imitations_, and becoming too often
as bigotted to their faults, as their beauties, they at length, in a
manner, totally neglect, or at least disregard the works of nature,
merely because they do not tally with what their minds are so strongly
prepossess'd with.
Were not this a true state of the case, many a reputed capital picture,
that now adorns the cabinets of the curious in all countries, would
long ago have been committed to the flames: nor would it have been
possible for the Venus and Cupid, represented by the figure [under Fig.
49 T p. I], to have made its way into the principal apartment of a
palace.
[Illustration: Fig. under Fig. 49]
It is also evident that the painter's eye may not be a bit better
fitted to receive these new impressions, who is in like manner too
much captivated with the works of art; for he also is apt to pursue
the shadow, and drop the substance. This mistake happens chiefly to
those who go to Rome for the accomplishment of their studies; as they
naturally will, without the utmost care, take the infectious turn of
the connoisseur, instead of the painter: and in proportion as they
turn by those means bad proficients in their own arts, they become the
more considerable in that of a connoisseur. As a confirmation of this
seeming paradox, it has ever been observ'd at all auctions of pictures,
that the very worst painters sit as the most profound judges, and are
trusted only, I suppose, on account of their _disinterestedness_.
Public-domain text, read in full here on John Shaqi.
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