While referring to many examples in history, Alberta also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory To begin tit, Alberta explains why painting is ‘Worthy of all our attention and study,”(60) seeing as learning it might seem a difficult and tedious task. Prom the beginning, he is very explicit and forward about his opinion on painting. To Alberta, it holds a “diving that can bring back the dead and immortality them for all to be awed by the artists talent.
In addition, he mentions how painting brings man closer to the gods and their holiness. He gives the examples Of Cassandra Who trembled before the portrait of Alexander the Great as if he were alive in front Of him, and Seagulls Who refused to let his ugly face be portrayed. Next, Alberta explains paintings capacity to add to everything value. He gives the example of a simple metal which, after being handled by an artist, becomes more valuable than unworried silver.Order now
And to conclude this paragraph, Alberta tell the story of Seizes who gave his paintings away because he thought them to be priceless, and believed the artist to behave as “a god among mortals” (61), This last comment shows how Alberta dollies painters and believes them to have godlike qualities. In the second paragraph, Rather continues to compare painters to gods when he says that painters “feel themselves to be almost like the He then goes on to say that among all the arts, painting is the most elite.
Accordingly, “whatever beauty there is in things has been derived from 61). It seems as if the author is putting the art of painting on a pedestal above all the rest, such as architecture and masonry. Alberta makes it clear that he is not concerned with painting’s origins, even though he briefly discusses them. Subsequently, the author uses old writings as reference o strengthen his point of view on how highly painting is esteemed above other “crafts” history.
It is therefore clear that the author believes painting to be somewhat in metaphysical nature, something beyond the ordinary. Throughout history, specifically in ancient Rome and Greece, people admired painting to the point where it was taught to every son Of respectable families, yet forbidden to the slaves. This goes to show how this form of art in particular was considered fit only to those Of high social class. Although it was reserved for the educated and cultured, painting attracted everyone and pleased them equally. In particular, In]tauter herself delights in painting. (Alberta 64) Alberta persists in showing LIST how painting is of nature; he first references nature by saying that Narcissus was the inventor of painting. In the myth of Narcissus, nature plays the role of the artist vivo paints a portrait so beautiful that Narcissus cannot take his eyes off of it. To further convince the reader of the pleasures painting gives, the author recounts a personal anecdote Of how gratifying and relaxing painting an be. In the final paragraph, Alberta discusses the motives of excelling in painting.
Apart from the fact that painting fist the finest and most ancient ornament footings,” (64) he is certain that if refined and mastered, it will bring great fame and riches to the artist. Hence, he advises young students to improve their talents and dedicate themselves to perfecting the art of painting. Conclude, whether it is drawn from the many detailed examples, or from his own stories, Liberties opinion on painting is clear. He sees it to be, not only the elite ND most noble of the arts, but also the foundation.
To him, only a divine artist can create a beautiful and worthy piece of art and that is why he portrays the painter as “the creator” and compares his work to the work of nature. However, the purpose of these 5 paragraphs is mainly to educate and explain to young painters that truly perfecting the art of painting is worth all the pain and effort, because not only do fame and fortune await them, but also self satisfaction and remembrance. Works Cited Alberta, Leon Battista. On Painting. Penguin Books, 1991.