Several of our painters, it is true, originally had some
connection with art, though in a very humble way,--such as Flaxman,
whose father sold plaster casts; Bird, who ornamented tea-trays;
Martin, who was a coach-painter; Wright and Gilpin, who were ship-
painters; Chantrey, who was a carver and gilder; and David Cox,
Stanfield, and Roberts, who were scene-painters.
It was not by luck or accident that these men achieved distinction,
but by sheer industry and hard work. Though some achieved wealth,
yet this was rarely, if ever, the ruling motive. Indeed, no mere
love of money could sustain the efforts of the artist in his early
career of self-denial and application. The pleasure of the pursuit
has always been its best reward; the wealth which followed but an
accident. Many noble-minded artists have preferred following the
bent of their genius, to chaffering with the public for terms.
Spagnoletto verified in his life the beautiful fiction of Xenophon,
and after he had acquired the means of luxury, preferred
withdrawing himself from their influence, and voluntarily returned
to poverty and labour. When Michael Angelo was asked his opinion
respecting a work which a painter had taken great pains to exhibit
for profit, he said, "I think that he will be a poor fellow so long
as he shows such an extreme eagerness to become rich.
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