Generally speaking, therefore, the duty of every painter at present, who has not much invention, is to take subjects of which the portraiture will be precious in after times: views of our abbeys and cathedrals; distant views of cities, if possible chosen from some spot in itself notable by association; perfect studies of the battle fields of Europe, of all houses of celebrated men, and places they loved, and, of course, of the most lovely natural scenery. And, in doing all this, it should be understood, primarily, whether the picture is topographical or not: if topographical, then not a line is to be altered, not a stick nor stone removed, not a colour deepened, not a form improved; the picture is to be, as far as possible, the reflection of the place in a mirror; and the artist to consider himself only as a sensitive and skilful reflector, taking care that no false impression is conveyed by any error on his part which he might have avoided; so that it may be for ever afterwards in the power of all men to lean on his work With absolute trust, and to say: "So it was: on such a day of June or July of such a year, such a place looked like this; those weeds were growing there, so tall and no taller; those stones were lying there, so many and no more; that tower so rose against the sky, and that shadow so slept upon the street."
§ 7. Nor let it be supposed that the doing of this would ever become mechanical, or be found too easy, or exclude sentiment. As for its being easy, those only think so who never tried it; composition being, in fact, infinitely easier to a man who can compose, than imitation of this high kind to even the most able imitator; nor would it exclude sentiment, for, however sincerely we may try to paint all we see, this cannot, as often aforesaid, be ever done: all that is possible is a certain selection, and more or less wilful assertion, of one fact in preference to another; which selection ought always to be made under the influence of sentiment. Nor will such topography involve an entire submission to ugly accidents interfering with the impressiveness of the scene. [21-22]
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Bibliography
Ruskin, John. Modern Painters. London: Routldge, 1907. Internet Archive. Contributed by the Getty Research Institute. Web. 24 November 2020.
Created 24 November 2020