True, all of those who were devoted to Landscape Art, or who made it a
part of their practice to introduce this element into their pictures,
often failed in attaining truth; but, by some strange power with
which they have invested their landscapes, an impulse is given to the
perception, and the essential truth, feebly hinted at, perhaps, is
recognized. But as the record comes down through the years, each
new picture approximates more nearly to the character of the scene
attempted, with, occasionally, (as in the works of Masaccio,) touches of
truth absolutely perfect, until at last appeared that man altogether at
one with Nature, who reproduced Nature in all its glory, pomp, freedom,
and life, as might an archangel. Titian brought to perfection the first
great class of Landscape Art, and, of course, in doing so, perfected
that department which was the only one as yet developed, and which
remains a distinct branch, subject to its own peculiar laws. We refer to
the rendering of natural scenery, beginning in the merely and completely
subordinate accessory, and ending, with Titian, in the perfectly
dignified and noble companionship of the visible universe with man.
We speak of this Art perfected far back, because we feel assured that
landscape, as accessory to the historical, has an ideal altogether
distinct from that of pure landscape.
It would not be just, perhaps, to regard the law which necessitates this
ideal as a law of subordination, although that condition prevails up to
the time of Titian.
Pages:
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56