We must remember that so far as the eye is concerned, the object of the artist is to train, not to deceive, and that his higher function has reference rather to the mind than to the eye.
No doubt
"To gild refined gold, to paint the lily,
To throw a perfume on the violet,
To smooth the ice, or add another hue
Unto the rainbow, or with taper-light
To seek the beauteous eye of heaven to garnish,
Is wasteful and ridiculous excess." [2]
But all is not gold that glitters, flowers are not all arrayed like the lily, and there is room for selection as well as representation.
"The true, the good, and the beautiful," says Cousin, "are but forms of the infinite: what then do we really love in truth, beauty, and virtue? We love the infinite himself. The love of the infinite substance is hidden under the love of its forms. It is so truly the infinite which charms in the true, the good, and the beautiful, that its manifestations alone do not suffice. The artist is dissatisfied at the sight even of his greatest works; he aspires still higher."
It is indeed sometimes objected that Landscape painting is not true to nature; but we must ask, What is truth? Is the object to produce the same impression on the mind as that created by the scene itself? If so, let any one try to draw from memory a group of mountains, and he will probably find that in the impression produced on his mind the mountains are loftier and steeper, the valleys deeper and narrower, than in the actual reality. A drawing, then, which was literally exact would not be true, in the sense of conveying the same impression as Nature herself.
In fact, Art, says Goethe, is called Art simply because it is not Nature.
It is not sufficient for the artist to choose beautiful scenery, and delineate it with accuracy. He must not be a mere copyist. Something higher and more subtle is required. He must create, or at any rate interpret, as well as copy.
Turner was never satisfied merely to reach to even the most glorious scenery. He moved, and even suppressed, mountains.
A certain nobleman, we are told, was very anxious to see the model from whom Guido painted his lovely female faces. Guido placed his color-grinder, a big coarse man, in an attitude, and then drew a beautiful Magdalen. "My dear Count," he said, "the beautiful and pure idea must be in the mind, and then it is no matter what the model is."