Seven Discourses on Art

by Sir Joshua Reynolds

I will mention two other painters who, though entirely dissimilar, yet by being each consistent with himself, and possessing a manner entirely his own, have both gained reputation, though for very opposite accomplishments.

The painters I mean are Rubens and Poussin. Rubens I mention in this place, as I think him a remarkable instance of the same mind being seen in all the various parts of the art. The whole is so much of a piece that one can scarce be brought to believe but that if any one of them had been more correct and perfect, his works would not be so complete as they now appear. If we should allow a greater purity and correctness of drawing, his want of simplicity in composition, colouring, and drapery would appear more gross.

In his composition his art is too apparent. His figures have expression, and act with energy, but without simplicity or dignity. His colouring, in which he is eminently skilled, is, notwithstanding, too much of what we call tinted. Throughout the whole of his works there is a proportionable want of that nicety of distinction and elegance of mind which is required in the higher walks of painting; and to this want it may be in some degree ascribed that those qualities which make the excellency of this subordinate style appear in him with their greatest lustre. Indeed, the facility with which he invented, the richness of his composition, the luxuriant harmony and brilliancy of his colouring, so dazzle the eye, that whilst his works continue before us we cannot help thinking that all his deficiencies are fully supplied.

Opposed to this florid, careless, loose, and inaccurate style, that of the simple, careful, pure, and correct style of Poussin seems to be a complete contrast.

Yet however opposite their characters, in one thing they agreed, both of them having a perfect correspondence between all the parts of their respective manners.

One is not sure but every alteration of what is considered as defective in either, would destroy the effect of the whole.

Poussin lived and conversed with the ancient statues so long, that he may be said to be better acquainted with then than with the people who were about him. I have often thought that he carried his veneration for them so far as to wish to give his works the air of ancient paintings. It is certain he copied some of the antique paintings, particularly the “Marriage in the Albrobrandini Palace at Rome,” which I believe to be the best relique of those remote ages that has yet been found.

No works of any modern has so much of the air of antique painting as those of Poussin. His best performances have a remarkable dryness of manner, which, though by no means to be recommended for imitation, yet seems perfectly correspondent to that ancient simplicity which distinguishes his style. Like Polidoro he studied them so much, that he acquired a habit of thinking in their way, and seemed to know perfectly the actions and gestures they would use on every occasion.

Poussin in the latter part of his life changed from his dry manner to one much softer and richer, where there is a greater union between the figures and the ground, such as the “Seven Sacraments” in the Duke of Orleans’ collection; but neither these, nor any in this manner, are at all comparable to many in his dry manner which we have in England.

The favourite subjects of Poussin were ancient fables; and no painter was ever better qualified to paint such subjects, not only from his being eminently skilled in the knowledge of ceremonies, customs, and habits of the ancients, but from his being so well acquainted with the different characters which those who invented them gave their allegorical figures. Though Rubens has shown great fancy in his Satyrs, Silenuses, and Fauns, yet they are not that distinct separate class of beings which is carefully exhibited by the ancients and by Poussin. Certainly when such subjects of antiquity are represented, nothing in the picture ought to remind us of modern times. The mind is thrown back into antiquity, and nothing ought to be introduced that may tend to awaken it from the illusion.