I should think his chief danger lay in falling into mannerism, and too
often repeating the same idea. He has a theory of coloring which is in
danger of running out into coldness and poverty of effect. His idea
seems to be, that in the representation of spiritual subjects the
artist should avoid the sensualism of color, and give only the most
chaste and severe tone. Hence he makes much use of white, pale blue,
and cloudy grays, avoiding the gorgeousness of the old masters. But it
seems probable that in the celestial regions there is more, rather
than less, of brilliant coloring than on earth. What can be more
brilliant than the rainbow, yet what more perfectly free from earthly
grossness? Nevertheless, in looking at the pictures of Schoeffer there
is such a serene and spiritual charm spread over them, that one is
little inclined to wish them other than they are. No artist that I
have ever seen, not even Raphael, has more power of glorifying the
human face by an exalted and unearthly expression. His head of Joan of
Arc, at Versailles, is a remarkable example. It is a commentary on
that scripture--"And they beheld his face, as it were the face of an
angel.
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