The Unknown Masterpiece | Page 7

Ah! to achieve that glorious result I have studied the works of the great masters of color, stripping off coat after coat of color from Titian's canvas, analyzing the pigments of the king of light. Like that sovereign painter, I began the face in a slight tone with a supple and fat paste--for shadow is but an accident; bear that in mind, youngster!--Then I began afresh, and by half-tones and thin glazes of color less and less transparent, I gradually deepened the tints to the deepest black of the strongest shadows. An ordinary painter makes his shadows something entirely different in nature from the high lights; they are wood or brass, or what you will, anything but flesh in shadow. You feel that even if those figures were to alter their position, those shadow stains would never be cleansed away, those parts of the picture would never glow with light.
"I have escaped one mistake, into which the most famous painters have sometimes fallen; in my canvas the whiteness shines through the densest and most persistent shadow. I have not marked out the limits of my figure in hard, dry outlines, and brought every least anatomical detail into prominence (like a host of dunces, who fancy that they can draw because they can trace a line elaborately smooth and clean), for the human body is not contained within the limits of line. In this the sculptor can approach the truth more nearly than we painters. Nature's way is a complicated succession of curve within curve. Strictly speaking, there is no such thing as drawing.--Do not laugh, young man; strange as that speech may seem to you, you will understand the truth in it some day.--A line is a method of expressing the effect of light upon an object; but there are no lines in Nature, everything is solid. We draw by modeling, that is to say, that we disengage an object from its setting; the distribution of the light alone gives to a body the appearance by which we know it. So I have not defined the outlines; I have suffused them with a haze of half-tints warm or golden, in such a sort that you can not lay your finger on the exact spot where background and contours meet. Seen from near, the picture looks a blur; it seems to lack definition; but step back two paces, and the whole thing becomes clear, distinct, and solid; the body stands out; the rounded form comes into relief; you feel that the air plays round it. And yet--I am not satisfied; I have misgivings. Perhaps one ought not to draw a single line; perhaps it would be better to attack the face from the centre, taking the highest prominences first, proceeding from them through the whole range of shadows to the heaviest of all. Is not this the method of the sun, the divine painter of the world? Oh, Nature, Nature! who has surprised thee, fugitive? But, after all, too much knowledge, like ignorance, brings you to a negation. I have doubts about my work."
There was a pause. Then the old man spoke again. "I have been at work upon it for ten years, young man; but what are ten short years in a struggle with Nature? Do we know how long Sir Pygmalion wrought at the one statue that came to life?" The old man fell into deep musings, and gazed before him with unseeing eyes, while he played unheedingly with his knife.
"Look, he is in conversation with his domon!" murmured Porbus.
At the word, Nicolas Poussin felt himself carried away by an unaccountable accession of artist's curiosity. For him the old man, at once intent and inert, the seer with the unseeing eyes, became something more than a man--a fantastic spirit living in a mysterious world, and countless vague thoughts awoke within his soul. The effect of this species of fascination upon his mind can no more be described in words than the passionate longing awakened in an exile's heart by the song that recalls his home. He thought of the scorn that the old man affected to display for the noblest efforts of art, of his wealth, his manners, of the deference paid to him by Porbus. The mysterious picture, the work of patience on which he had wrought so long in secret, was doubtless a work of genius, for the head of the Virgin which young Poussin had admired so frankly was beautiful even beside Mabuse's "Adam"--there was no mistaking the imperial manner of one of the princes of art. Everything combined to set the old man beyond the limits of human nature.
Out of the wealth of fancies in Nicolas Poussin's brain an idea grew, and gathered shape and clearness. He saw in this supernatural being a complete type