Lectures on Landscape - Delivered at Oxford in Lent Term, 1871
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from the Rembrandt go to the little Cima (No. 93), “St. Mark. “ Thus you have the Sandro Botticelli, of the noble Greek school in Florence; the Rembrandt, of the debased Greek school in Holland; and the Cima, of the pure color school of Venice. The Cima differs from the Rembrandt, by being lovely; from the Botticelli, by being simple and calm. The painter does not desire the excitement of rapid movement, nor even the passion of beautiful light. But he hates darkness as he does death; and
join not with those who instead of kites fly falcons; who instead of obeying the last words of the great Cloud-Shepherd—to feed his sheep, live the lives—how much less than vanity! —of the war-wolf and the gier-eagle. Or, do you think it a dishonor to man to say to him that Death is but only Rest? See that when it draws near to you, you may look to it, at least for sweetness of Rest; and that you recognize the Lord of Death coming to you as a Shepherd gathering you into his Fold for the night.
that character is in itself so interesting, that here Turner has made a picture of little more than a heap of such stones, with blue water to oppose their color. In consequence of these difficulties and insufficiencies, most landscapepainters have been tempted to neglect outline altogether, and think 10 Lectures on Landscape only of effects of light or color on masses more or less obscurely defined. They have thus gradually lost their sense of organic form, their precision of hand, and their
for color, you may go farther in another manner, with enjoyment. 35. Now to go back to Turner. The first great object of the Liber Studiorum, for which I requested you in my sixth Lecture to make constant use of it, is the delineation of solid form by outline and shadow. But a yet more important purpose in each of the designs in that book is the expression of such landscape powers and character as have especial relation to the pleasures and pain of human life—but especially the pain. And it is
and coarse colorist; and therefore his color catches the lower public, and gets talked about. But he is par excellence a splendid draughtsman of the Greek school; and no one else, except Tintoret, could have drawn with the same ease either the muscles of the dead body or the plumes of the birds. 48. Farther, that he never became a great colorist does not mean that he could not, had he chosen. He was warped from color by his lower Greek instincts, by his animal delight in coarse and violent forms