Table-Talk · Chapter
On the Pleasure of Painting explained
Hazlitt contrasts the solitary, peaceful pleasure of painting with the anxiety of writing, describing how painting allows one to engage in a friendly strife with Nature, free from the contentions of the world.
What happens
Hazlitt contrasts the solitary, peaceful pleasure of painting with the anxiety of writing, describing how painting allows one to engage in a friendly strife with Nature, free from the contentions of the world. He recounts his early efforts to paint an old woman's head, his patient labor to capture individual details in the manner of Rembrandt, and the deep satisfaction he found in the process, concluding with a nostalgic reflection on lost times and departed loved ones.
Themes in this chapter
Art and Nature
Central theme: painting as a direct, peaceful communion with Nature, where the artist learns to see 'face to face' and 'into the life of things.'
The Psychology of Habit and Novelty
Hazlitt discusses how familiarity breeds contempt for his own writings, while the novelty of painting keeps him engaged and happy.
Criticism and Critical Practice
Hazlitt critiques Sir Joshua Reynolds's theory of art, arguing for the inclusion of individual details over mere general effect.
Characters to notice
- William Hazlitt
The author and narrator, reflecting on his personal experiences with painting and writing.
- Sir Joshua Reynolds
Mentioned as a contrasting authority on art; Hazlitt disagrees with his view that perfection lies in general appearances without individual details.
- John Milton
Quoted indirectly via the poet's line 'My mind to me a kingdom is' and referenced in the phrase 'Pure in the last recesses of the mind.'
Key passages
“There is a pleasure in painting which none but painters know.”
Only painters truly understand the unique joy that painting brings.
Opening line establishing the central contrast between painting and writing.
“In writing, you have to contend with the world; in painting, you have only to carry on a friendly strife with Nature.”
Writing involves battling external opinions and pressures, whereas painting is a peaceful, personal engagement with the natural world.
Key distinction between the two arts as experienced by Hazlitt.
“I did not then, nor do I now believe, with Sir Joshua, that the perfection of art consists in giving general appearances without individual details, but in giving general appearances with individual details.”
Hazlitt rejects Reynolds's idea that art should only capture broad effects, insisting that true art includes specific, detailed observations.
Direct critique of Sir Joshua Reynolds's artistic theory.
“Oh for the revolution of the great Platonic year, that those times might come over again! I could sleep out the three hundred and sixty-five thousand intervening years very contentedly!”
Hazlitt longs for the cyclical return of his past happy days, even if it meant sleeping through millennia.
Nostalgic conclusion expressing deep yearning for lost youth and joy.