Excerpt: ...no man can ever make a picture which excels Nature's; and when, through much copying, he has seized her spirit, it cannot be called original work, it is rather something received and learnt, whose seeds grow and bear fruit of their own kind. Thereby the gathered treasure of the heart, and the new creature which takes shape and form there, comes to light in the artist's work.' Elsewhere Durer says 'a good painter's mind is full of figures, ' and he repeatedly remarks upon the superabundant beauty of all living ...
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Excerpt: ...no man can ever make a picture which excels Nature's; and when, through much copying, he has seized her spirit, it cannot be called original work, it is rather something received and learnt, whose seeds grow and bear fruit of their own kind. Thereby the gathered treasure of the heart, and the new creature which takes shape and form there, comes to light in the artist's work.' Elsewhere Durer says 'a good painter's mind is full of figures, ' and he repeatedly remarks upon the superabundant beauty of all living things which human intelligence rarely succeeds in reproducing. The first modern landscapes in which man was only accessory were produced in the Netherlands. Quiet, absorbed musing on the external world was characteristic of the nation; they studied the smallest and most trifling objects with care, and set a high value on minutiae. The still-life work of their prime was only possible to such an easy-going, life-loving people; the delightful animal pictures of Paul Potter and Adrian van de Velde could only have been painted in the land of Reineke Fuchs. Carriere says about these masters of genre painting9: 'Through the emphasis laid upon single objects, they not only revealed the national characteristics, but penetrated far into the soul of Nature and mirrored their own feelings there, so producing works of art of a kind unknown to antiquity. That divine element, which the Greek saw in the human form, the Germanic race divined in all the visible forms of Nature, and so felt at one with them and able to reveal itself through them. 'Nature was studied more for her own sake than in her relation to man, and scenery became no longer mere background, but the actual object of the picture. Animals, and even men, whether bathing 191 in the river, lying under trees, or hunting in the forest, were nothing but accessories; inorganic Nature was the essential element. The greatest Dutch masters did not turn their attention to the extraordinary and..
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