imagination, by constant and intense
exercise, may so project the image it conceives, as to make it the
subject of ocular contemplation and imitation. Why not? All objects of
sight are painted on a flat surface, and it is by experience, comparison,
nay, in some measure by the will, that we get our ideas of their shape
and distance. Poor Blake's insane painting of imaginary heads, which he
saw three or six feet from him, was the only true and rational method
of painting at all. Think of your thought,--intensify it,--create
it,--create it perfectly,--define it carefully,--group it gracefully,
--color it exquisitely,--project it, by an intense effort of the will,
into the space before you. There it stands. Now paint it.
He is fond of dwelling on this theory; and as nobody takes the trouble
to contradict him, he has come to believe it truth, through hearing it
often repeated. He has explained it to Minnie more than twenty times,
and says he is almost ready to paint. Not quite. He must lie on the sofa
a year, perhaps two years longer, before he will be able to satisfy
himself. But then, what is a year, two, ten years, in an eternity of
fame?
The conception being completely projected from the brain in a visible
form, what remains but the mechanical imitation of it? Anybody can do
that. The thing is the conception. In vain Minnie suggests the vulgar
notion of acquiring facility by drawing and copying things in general.
"Entirely unnecessary, Minnie. What! is not genius before rules? Why
should I imitate Titian's tints, when I can copy my own fancies? When I
get my ideal perfected, you will soon see it real. I can copy it in
half an hour. If it is in me, it will come out of me, like Curran's
eloquence."
"But," says Minnie, doubtfully, looking at the easel where the golden
curls and heavenly eyes of an angel are obscured by the russet-brown of
a beginning wood-nymph, "why don't you keep to one idea, Fred?"
"Oh, because I choose to be fancy-free. I will not have my imagination
tram
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