He could never have
drawn so badly, he never could have composed so awkwardly, he never
could have been so inexpressive!--such is the usual criticism. I have
elsewhere insisted upon the unevenness which invariably characterises
the productions of men who are gifted with a strong artistic
temperament, and in Giorgione's case, as I believe, this is particularly
true. The Glasgow picture is but one instance of many where, if
correctness of drawing, perfection of composition, and inevitableness of
expression are taken as final tests, the verdict must go against the
painter. He either failed in these cases to come up to the standard
reached elsewhere, or he is not the painter. Modern negative criticism
generally adopts the latter solution, with the result that not a score
of pictures pass muster, and the virtues of these chosen few are so
extolled as to make it all but impossible to see the reverse of the
medal. But those who accept the "Judith" at St. Petersburg, the Louvre
"Concert," the Beaumont "Adoration of the Shepherds" (to name only three
examples where the drawing is strange), cannot consistently object to
admit the Glasgow "Christ and the Adulteress" into the fold. Nay, if
gorgeousness of colour, splendour of glow, mastery of chiaroscuro, and
brilliancy of technique are qualities which go to make up great
painting, then the Glasgow picture must take high rank, even in a school
where such qualities found their grandest expression.
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