There is no mechanism in painting; for those, who by a clever handling, possess this quality to the greatest perfection, are rarely found to excel in the higher realities of art.
It is to the whole—the absolute and entire impression—the disposition of pictorial matter and auxiliaries, that imply ability and power in their treatment.
Do not let the love of novelty induce you to leave the beaten path of excellence; for all endeavours to surprise and please by that which is uncommon or new, will be attended with defeat; a matter, oftener the result of idleness and caprice, than the striking effect of a mind well-regulated and devoted to study.
Style, manner, handling, are for the most part matters of tact, distinguishing one painter from another, quite as much as one man's manners are known from another's. Where the inferior and subordinate pursuit of skill in handling or execution is aimed at, it tends universally to form a mannerist; and this is the greatest evil of our time. Instead of elevating the mind to the quality of the whole, it degenerates into an abject and curious species of imitation of the parts, or of some one thing in particular the artist feels he can do cleverly; sacrificing to this 'industrious idleness,' correctness of drawing, character, expression, and elevation of style. In a word, it is mechanics, and not art! Grandeur, sublimity, simplicity, all fly from this one evil.
Style comprehends the whole of a picture, in all its mysterious or simple workings—its moral character—its elevation, or its degeneracy.
Decision, spirit, and freedom of execution and expertness of handling, opposed to feeble uncertainty, have great charms, in common with all excellencies; yet, so delusive is this species of fascination, that it becomes imperious to be guarded against it. The end must not be sacrificed to the means!
OF BACKGROUNDS.
'One of the principal and most important parts of painting, is the nature and quality of backgrounds;' from which any round or solid body is to detach itself; and this may be so contrived that both may be of the same colour; 'because the convex sides of solid bodies do not receive the light in the same manner as the ground does, being lighter or darker than the ground.'