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Commodore Directory 10
Page 02
Reynolds was well-grounded in Venetian color, Bolognese composition, Parmese light-and-shade, and paid them the homage of assimilation; but if Gainsborough (1727-1788) had such school knowledge he positively disregarded it. He disliked all conventionalities and formulas. With a natural taste for form and color, and with a large decorative sense, he went directly to nature, and took from her the materials which he fashioned into art after his own peculiar manner. His celebrated Blue Boy was his protest against the conventional rule of Reynolds that a composition should be warm in color and light. All through his work we meet with departures from academic ways. By dint of native force and grace he made rules unto himself. Some of them were not entirely successful, and in drawing he might have profited by school training; but he was of a peculiar poetic temperament, with a dash of melancholy about him, and preferred to work in his own way. In portraiture his color was rather cold; in landscape much warmer. His brush-work was as odd as himself, but usually effective, and his accessories in figure-painting were little more than decorative after-thoughts. Both in portraiture and landscape he was one of the most original and most English of all the English painters--a man not yet entirely appreciated, though from the first ranked among the foremost in English art.
If I do not take these works so seriously as the reader may expect, let me beg him, before he blames me, to go to Oropa and see the originals for himself. Have the good people of Oropa themselves taken them very seriously? Are we in an atmosphere where we need be at much pains to speak with bated breath? We, as is well known, love to take even our pleasures sadly; the Italians take even their sadness allegramente, and combine devotion with amusement in a manner that we shall do well to study if not imitate. For this best agrees with what we gather to have been the custom of Christ himself, who, indeed, never speaks of austerity but to condemn it. If Christianity is to be a living faith, it must penetrate a man's whole life, so that he can no more rid himself of it than he can of his flesh and bones or of his breathing. The Christianity that can be taken up and laid down as if it were a watch or a book is Christianity in name only. The true Christian can no more part from Christ in mirth than in sorrow. And, after all, what is the essence of Christianity? What is the kernel of the nut? Surely common sense and cheerfulness, with unflinching opposition to the charlatanisms and Pharisaisms of a man's own times. The essence of Christianity lies neither in dogma, nor yet in abnormally holy life, but in faith in an unseen world, in doing one's duty, in speaking the truth, in finding the true life rather in others than in oneself, and in the certain hope that he who loses his life on these behalfs finds more than he has lost. What can Agnosticism do against such Christianity as this? I should be shocked if anything I had ever written or shall ever write should seem to make light of these things. I should be shocked also if I did not know how to be amused with things that amiable people obviously intended to be amusing.
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