The Philosophy of Fine Art, volume 3 (of 4) / Hegel's Aesthetik

by Georg Wilhelm Friedrich Hegel

(ββ) The advance of painting continued under the manner of conception for which Giotto was in the main responsible. The typical representation of Christ, the apostles, and the more important events which are reported us by the evangelists, were more and more thrust into the background. Yet in another direction the embrace of subject-matter was for that reason extended. As our author expresses it: "All artists engaged in depicting the various phases in the life of latter-day saints, such as their previous worldliness, the sudden awakening of conscience, their entrance into the life of piety and asceticism, the miracles of their lives, more particularly after their decease, in the representation of which, as is to be expected from the external conditions of the art, the expression of the effect upon the living exceeded any suggestion of invisible powder[355]." Add to this that the events of the Life and Passion of Christ were not neglected. The birth and education of Christ, the Madonna with her Child were exceptionally favoured subjects, and were invested with a more life-like domesticity, touched with a more intimate tenderness, revealed to us in the medium of human feeling, and, moreover, to quote yet further: "In the problems[356] suggested by the Passion it was not so much the sublime and the triumph as simply the pathetic aspect which was emphasized, a direct consequence of the enthusiastic wave of sympathy with the earthly sufferings of the Saviour, to which Saint Francis, both by example and teaching, had communicated a vital energy hitherto unheard of."

In respect to a yet further advance towards the middle of the fifteenth century, we have to lay exceptional stress on two names, Masaccio and Fiesole. In the progressive steps through which the religious content was vividly carried into the living forms of the human figure and the animated expression of human traits Herr von Rumohr[357] draws attention to two essential aspects as of most importance. The one is the increase of rondure in all forms to which it applies; the other he indicates as "a profounder penetration into the articulation, the consistency, the most varied phases of the charm and significance of the features of the human countenance." Masaccio and Angelico da Fiesole between them were the first to contribute effectively to the solution of this artistic problem, the difficulty of which in its entirety exceeded the powers of any one artist of that period. "Masaccio was mainly occupied with the problem of chiaroscuro, and the rounding and effective articulations of groups of figures. Angelico da Fiesole, on the other hand, devoted himself to sounding the depths of ideal coherence, that indwelling significance of human features, the mine of whose treasure he was the first to open to painting[358]." The effort of Masaccio was not so much one in the direction of grace as in that of imposing conception, manliness, and under the instinctive need for unity of the entire composition. The impulse of Fra Angelico was that of religious intensity, a love severed from the world, a cloistral purity of emotion, an exaltation and consecration of the soul. Vasari assures us in his account of him that he never commenced work without prayer, and never depicted the sufferings of the Redeemer without bursting into tears[359]. We have, then as aspects of this advance of painting a more exalted vitality and realism: but, on the other hand, the depth of piety, the ingenuous devotion of the soul in its faith overran itself and overpowered the freedom, dexterity, naturalism, and beauty of the composition, pose, drapery, and colour. If the later development was able to attain to a far more exalted and complete expression of the spiritual consciousness, yet the epoch we are now considering has never been surpassed in purity and innocence of religious feeling and serious depth of conception. Many pictures of this time may very well, by reason of the fact that the forms of life, which are used to depict the religious intensity of soul-life, do not appear fully adequate to this expression, give us something like a repulse; from the point of view, however, of spiritual emotion, which is the most vital source of these works of art, we have still less reason to fail to acknowledge the naive purity, the intimacy with the most profound depths of the truly religious content, the assuredness of faithful love even under oppression and in grief, and oft, too, the charm of innocence and blessedness, inasmuch as the epochs that followed it, however much in other aspects of artistic perfection they made a step forwards, yet for all that never secured again the perfection of these previous excellencies, when once it had been lost.

(γγ) A third aspect attaches to the further development of the art, in addition to those already discussed, which may be described as the wider embrace of it relatively to the subjects accepted for presentation by the new impulse. Just as what was regarded as sacred had from the very commencement of Italian painting approached more closely to reality by reason of the fact that men whose lives fell about the time of the painters themselves were declared to be saints, so too Art received into its own sphere other aspects of reality and present life. Starting from that earliest phase of pure spirituality and piety, an art whose aim was wholly absorbed in the expression of such religious emotions, painting proceeded more and more to associate the external life of the world with its religious subject-matter. The gladsome, forceful self-reliance of the citizen in the midst of his professional career, the business and the craft that was bound up with such qualities, the freedom, the manly courage and patriotism, in one word, his weal in the vital activities of the Present, all this newly-awakened sense of human delight in the virtues of civil life and its cheer and humour[360], this harmonized sympathy with what was actual in both its aspects of ideal life[361] and the external framework of the same, all this it was which entered now into his artistic conceptions and modes of presenting such and was made valid therein. It is in this spirit that the enthusiasm for landscape backgrounds, views of cities, environment of church buildings and palaces becomes a real instinct of artistic life; the living portraits of famous savants, friends, statesmen, artists, and other persons remarkable in their day for their wit and vivacity find a place in religious compositions; traits borrowed from both civil and domestic life are utilized with a greater or less degree of freedom and dexterity; and if, no doubt, the spiritual aspect of the religious content remained the foundation of all, yet the expression of piety was no longer exclusively isolate, but is linked together with the more ample life of reality and the open stage of the world[362]. No doubt we must add that by reason of this tendency the expression of religious concentration and its intimate piety is weakened, but art required also this worldly element in order to arrive at its culminating point.

(γ) Out of this fusion of the more embracing reality of life with the ideal material of religious emotion arose a new problem for genius to solve, the complete solution of which was reserved for the great masters of the sixteenth century. The supreme aim now was to bring the intimate life of soul, the seriousness and the loftiness of religious emotion into harmony with the animation, the actual presence of characters and forms both in its corporeal and spiritual aspect, in order that the bodily configuration in its pose, movement, and colour, may not simply remain an external framework, but become itself essentially an expression of spirit and life, and by virtue of that expression, made throughout all its parts wholly the reflex of soul-life no less than of external form, reveal a beauty without break or interruption.

Among the masters of most distinction, who set before themselves such an aim, we should pre-eminently mention Leonardo da Vinci. It was he, who, by virtue of his artistic thoroughness, his almost over-refined passion for detail, his exquisite delicacy of mind and feeling, not only penetrated further than any other[363] into the mysteries of the human form and the secrets of its expression, but, through his equally profound knowledge of all the technique of a painter, attained to an extraordinary infallibility in the employment of all the means that his researches and practice had placed within his reach. And, along with this, he was able to retain a reverential seriousness in composing his religious subjects, so that his figures, however much they present to us the ideal of a more complete and rounded actuality, and disclose the expression of sweet, smiling joyfulness in facial traits and the delicate rhythm of drapery, do not thereby dispense with the dignity, which the worth and truth of religion demand[364].

The most unflecked quality[365] of perfection reached in this direction was, however, that first attained by Raphael. Herr von Rumohr assigns more particularly to the artists of the Umbrian School dating from the middle of the fifteenth century a mysterious fascination, which no sympathetic nature can resist, and endeavours to find the source of this attraction in the depth and tenderness of feeling no less than the marvellous unity into which these painters knew how to bring memories from the oldest essays of Christian art of a style only very partially understood by them[366] with the milder conceptions of a later time, and in this respect proved themselves superior to the Tuscan, Lombard, and Venetian fellow artists of that period[367]. It was just this expression of "flawless purity of soul and absolute surrender to the yearning and enthusiastic flow of tender feeling" to which Pietro Perugino, the master of Raphael, devoted his artistic efforts, and succeeded by doing so in fusing the objectivity and vitality of external forms, throughout all its actual realization and in every detail, an aim which had previously received the most marked attention in the elaborate work of the Florentines. Starting from the work of Perugino, to whose artistic taste and style he appears to have consistently adhered in his early work, Raphael proceeded yet further to realize to the most consummate degree the demand of the ideal above indicated. In other words we find united in him the highest ecclesiastical feeling for the themes of religious art and a complete knowledge and enthusiastic respect for natural phenomena in all the animation of their colour and shape together with an insight fully as great for the beauty of the antique. This great admiration for the idealistic beauty of the ancients did not bring him in any way to imitate and adapt to his work the forms which Greek sculpture had elaborated in their perfection. What he seized from it was simply the general principle of their free beauty which in his hands was throughout suffused with a more individual vitality more applicable to his art and with a type of expression more deeply informed with soul-life, and at the same time with an open, blithesome clarity and thoroughness, in all the detail of the presentment that up to his time was as yet unknown among Italian artists. In the elaboration and consistent fusion and coherence of this ideal atmosphere he reached the highest point of his attainment. On the other hand, in the magical charm of chiaroscuro, in the exquisite tenderness and grace of soul-expression, of forms, movements, and grouping, it is Correggio who most excels, while the incomparable greatness of Titian consists in the wealth of natural life that he displays, the illuminating bloom, fervency, warmth, and power of his colour. We know nothing more delightful than the naïveté of Correggio's not so much natural as religious and spiritual grace, nothing more sweet than his smiling, unconscious beauty and innocence[368].

The artistic perfection of these great masters is a culminating point of art such as could only be mastered by one nation in the course of historical development.

(c) Thirdly, in so far as the question is that of German painting we may affiliate that which is entirely German with that of Flemish or Dutch painters. The general distinction between the above schools and that of the Italians, consists in this, that neither the Germans nor the painters of the Netherlands were willing as a creation of their own to attain to the free ideal forms and modes of expression characteristic of Italian art, or were able to progress to that spiritually transfigured type of beauty which is essentially the result of such. What they did elaborate, however, was, in one aspect of it, the expression of depth of emotion and the austere seclusion of the individual soul, and, from another point of view, they attach to this intensity of faith the separate definition of individual character in the broader significance of it, that is to say, one which does not merely disclose the fact of its close interest with the claims of faith and salvation, but also shows how the individuals represented are affected by the concerns of the world, how they are buffeted by the cares of life, and in this severe ordeal have gained worldly wisdom, fidelity, consistency, straightforwardness, the constancy of chivalry and the sterling character of good citizens. Agreeably to this more restricted and depressed vision of the detail of life we find here, and it is particularly conspicuous in the German school, from the beginning, in deliberate contrast with the purer forms and characters of the Italians, rather the expression of a formal obstinacy of stubborn natures, which either oppose themselves to God with energetic defiance and brutal wilfulness, or are forced to impose restraint on themselves in order that they may, with sore travail, wrest themselves from their limitations and uncouthness, and fight their way to the reconciliation of religion; consequently the deep wounds which they inflict on their spiritual life inevitably contribute to the visible expression of their piety. In illustrating this more closely I will merely draw attention to certain prominent features, which are important indications of the contrast between the older Flemish school and the upper German and more recent Dutch masters of the seventeenth century.

(α) Among the early Flemish masters, the brothers Van Eyck, Hubert, and John are exceptionally distinguished in the early half of the fifteenth century, and it is only recently that their true merits have once more been established. It is now an established fact that they discovered, or at least they were the first to fully perfect, the process of oil-painting. Looking at the great advance they made we must now assume that a distinct series of stages in the course of this progress to its culmination could be set forth. We have, however, no historical array of works of art preserved for us whereby we could illustrate such a gradual process. We are face to face at one moment of time with the beginning and final consummation. For painting of greater excellence than that of these two brothers it is almost impossible to imagine. Moreover, the works that have come down to us, in which the mere type is already dispensed with and overcome, not merely display a grand mastery in drawing, arrangement, grouping, ideal and exterior characterization, enthusiasm, clarity, harmony, and delicacy of colouring, dignity and repose of composition; but we must add that the entire wealth of painting respectively to nature's environment, architectonic accessories, backgrounds, splendour and variety of material, drapery, style of weapons, ornamentation, and much besides, is already treated with such fidelity, with such an instinctive sense of what is pictorial, and with such a technical virtuosity, that even later centuries, at any rate from the point of view of thoroughness and truth, have been unable to produce any more consummate result. We are, however, more strongly attracted by the master works of Italian painting, if we contrast them with this Flemish school, because the Italians, along with the completest expression of soul-life and the religious sense, retain throughout the ideal of spiritual freedom and imaginative beauty. The figures of Flemish art delight us, no doubt, by virtue of their innocence, naïveté, and piety; nay, in the depth of their emotional life they, in some measure, surpass the work of the most excellent Italian artists; but the Flemish masters have never been able to attain to a beauty of form and a freedom of soul comparable with that of the Italians. Their Christ-babes are, in particular, badly modelled; and for the rest their characters, whether men or women, however strongly, subject to their dominant expression of religious fervour, they may display a sterling character in their relation to secular interests sanctified by the depth of their faith, nevertheless appear to us lacking in a significance which can exalt itself over such a piety, or rather, as dominated by it, do not appear able at the same time to be essentially free, instinct with imagination and the enterprise of superior qualities.