large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb_77
large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb
English
5293
But apparently with the wish to avoid being supposed to choose such representations for their own sakes, he always found a story, often in the histories of the church, whose name he gave to the painting, and which he pretended to have inspired the pictorial conception. BUT APPARENTLY WITH THE WISH TO AVOID BEING SUPPOSED TO CHOOSE SUCH REPRESENTATIONS FOR THEIR OWN SAKES HE ALWAYS FOUND A STORY OFTEN IN THE HISTORIES OF THE CHURCH WHOSE NAME HE GAVE TO THE PAINTING AND WHICH HE PRETENDED TO HAVE INSPIRED THE VICTORIAL CONCEPTION
d in perfect accordance with artistic law, falsifying no line of the original forms. It was the suffering, rather than his pencil, that wrought the change. The latter was the willing instrument to record what the imagination conceived with a cruelty composed enough to be correct. To enhance the beauty he had thus distorted, and so to enhance yet further the suffering that produced the distortion, he would often represent attendant demons, whom he made as ugly as his imagination could compass; avoiding, however, all grotesqueness beyond what was sufficient to indicate that they were demons, and not men. Their ugliness rose from hate, envy, and all evil passions; amongst which he especially delighted to represent a gloating exultation over human distress. And often in the midst of his clouds of demon faces, would some one who knew him recognise the painter’s own likeness, such as the mirror might have presented it to him when he was busiest over the incarnation of some exquisite torture. E TO DO THIS HE WORKED IN PERFECT ACCORDANCE WITH ARTISTIC LAW FALSIFYING NO LINE OF THE ORIGINAL FORMS IT WAS THE SUFFERING RATHER THAN HIS PENCIL THAT WROUGHT THE CHANGE THE LATTER WAS THE WILLING INSTRUMENT TO RECORD WHAT THE IMAGINATION CONCEIVED WITH A CRUELTY COMPOSED ENOUGH TO BE CORRECT TO ENHANCE THE BEAUTY HE HAD THUS DISTORTED AND SO TO ENHANCE YET FURTHER THE SUFFERING THAT PRODUCED THE DISTORTION HE WOULD OFTEN REPRESENT ATTENDANT DEMONS WHOM HE MADE AS UGLY AS HIS IMAGINATION COULD COMPASS AVOIDING HOWEVER ALL GROTESQUENESS BEYOND WHAT WAS SUFFICIENT TO INDICATE THAT THEY WERE DEMONS AND NOT MEN THEIR UGLINESS ROSE FROM HATE ENVY AND ALL EVIL PASSIONS AMONGST WHICH HE ESPECIALLY DELIGHTED TO REPRESENT A GLOATING EXULTATION OVER HUMAN DISTRESS AND OFTEN IN THE MIDST OF HIS CLOUDS OF DEMON FACES WOULD SOME ONE WHO KNEW HIM RECOGNISE THE PAINTER'S OWN LIKENESS SUCH AS THE MIRROR MIGHT HAVE PRESENTED IT TO HIM WHEN HE WAS BUSIEST OVER THE INCARNATION OF SOME EXQUISITE TORTURE
large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb
file
download/librilight/large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb.flac