Previous Page Close Next Page

fol. 66v	'Of Truth of Space … Focus of the Eye' (Pt II, Sn II, Ch IV)    (3.324f)
      
      
      
      
      
      
      
 5   
      
      
     Observe however - I do not say that . all foregrounds are to be indistinct - but
10   merely that they must be indistinct if the eye is to be carried into the distance.
     and that if the foreground is to be {made out as} an object of attraction , the
     distance
     must - if truth of space be <the obj> {our aim} be a mere haze & shadow.
     If the eye is to have its share of both - both must be in a certain degree
     indistinct & confused - and this i<*.*>s the real reason why <Turner> the
     									pictures
15   of Turner retain their influence & effect at any distance - while those
     of all other landscape painters . (except perhaps . and for the same reason,
     								      Barratt,)
     fade into flatness and inanity; except where you can see the details <)> .   Turner
     ha<ve>s invariably . from his exquisite {& scientific} indistinctness , <more>
     					^ {as much or more} command of the eye
     when they are viewed as a whole .  <than> {as} when <the eye> we can <rest on>
     						{dwell upon the} parts .
20   , <exquisite - studied and intricate as> {even though} every inch of the picture is
     									studied and
     filled with an intricacy {of hinted form of} <the eye cannot too closely use
     too> {<scarcely can examine>} {enough} -
     we can scarcely form a conception ^ {but} with a magnifying glass .
      
      
fol. 67r	'Of Truth of Space … Focus of the Eye' (Pt II, Sn II, Ch IV)    (3.325)
'Of Truth of Space … Power of the Eye' (Pt II, Sn II, Ch V)    (3.327)
     
     										44 .
     a black frame <wa> for their picture -    <none> {few} of the moderns - <except
     								                  Turner
     Harding . Stan  &  Rob>  make it really a {<*….*>} <part> of their composition -
     												 and
     of these Turner only can make it an attractive {& necessary} part - because he alone
     can
     keep it in due subordination & relation to the rest .   Stanfield hardly ever
 5   gets through an academy picture without spoiling it by the decision of
     his figures .  Harding constantly sacrifices his distance and Roberts is
     often morbid and affected.  keeping his forms down by dead<ness of> ^ {and
     							              unnatural} colour
     rather than by truthful indistinctness of outline .     So rare and difficult
     an attainment is truth in this part of a painting -    *and as rarely appreciated
10   as met with -    over and over again have I heard good judges in other
     respects - condemn Turner for this his peculiar & penetrating adherence to
     truth.
     Secondly       If the eye be directed to any particular part of a landscape
     so as to make it fully out.  none of the rest - none even of what is
15   nearest to the observed point
     But it is not merely in certain parts of a picture - as subordinate
     to the rest - that indecision is necessary  .   There is a certain indistinctness
     in all objects . according to their distance .  which has been fully understood
     by Turner only .  .  <To>Of this general truth I must draw especial
20   attention >
     Draw on a piece of white paper . a square & a circle . each about
     the 12th or  8th of an inch in diameter .  and shade them.  or make them
      
      

Previous Page Close Next Page

MW