a mere indication of the painter’s design, intended to be worked up
to all the truth of representation as he transfers it to the canvas;
that the outlines of the figures are oftener mere shadowy forms,
undefined in the minute parts, than studies of anatomical expression,
or guides to the painter in his subsequent labour. And perhaps
it is for this reason that there have been many painters, whose
sketches all admire, but whose finished paintings fall short of
public expectation. Yet I venture to say. that a sketch which is
tame and spiritless, and in which the anatomy has not been
studied, is a bad foundation for a fine painting. Even a little
exaggeration of the anatomy is not only agreeable, but highly use*
ful in the mere sketch. The anatomy should be strongly marked
in the original design; and from the dead colouring to the finishing,
its harshness and ruggedness should be gradually softened into the
modesty of nature. The character of a sketch is spirit and life;
the finished painting must have smoothness and accuracy combined.
That which was a harsh outline in the sketch, or the strong
marking of a swelling muscle, or the crossing of a vein, will in the
finished composition be faintly indicated, perhaps only by a tinge
of colour. But the anatomy of the finished picture will always be
the most happy, and even its delicacy, perhaps the greatest, where
the painter has a strong and clear conception of the course and
swelling of each muscle and vein, which enters into the delineation
of the action.
While artists neglect the study of anatomy, as connected with
character and expression in painting, they never can attain the
“ vantage ground of their profession.” Perhaps, also, it is to be
feared, that while this study is confined to a few, and one or two
artists only are versed in the science, they will be apt to caricature
nature. They are learned above their rivals: it is their forte, and
they are solicitous to display it. But were anatomy more generally
studied, the same spirit and love of originality, would make those
very men seek for distinction, by combining elegance and the other
requisites of fine painting, with truth and expression; and prevent
them from being any longer ambitious of drawing in a style
bordering on deformity.
It is not enough however, to prove, that the painter should
accomplish himself in the knowledge of anatomy. The public
attention must also be directed to its importance. For as necessity
must precede invention in the origin of arts, so must general good
taste precede or accompany their improvement. The mere conviction
in the mind of the painter, that anatomy is necessary to the
perfection of his science, will seldom be sufficient to insure his
application to a very difficult and somewhat of a disgusting study.
The knowledge and opinion of the public must force him to
the task, and encourage his labour by the assurance of its merited
reward.
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