The Gate of Appreciation Part 6

The form, thus self-const.i.tuted, has the power to delight us, and the work is at the same time the expression of emotion. The arts of form please us with the pleasure that attends the perception of formal beauty; but this pleasure docs not exhaust their capability to minister to us. What differentiates art from manufacture is the element of personal expression. Born out of need, whether the need be physical or spiritual, fulfilling the urge to expression, a work of art embodies its maker's delight in creating. Correspondingly, beyond our immediate enjoyment of the work as form, we feel something of what the man felt who was impelled to create it. His handiwork, his pattern, his composition, becomes the means of communicating to us his emotional experience.

Obviously the significance of any work is determined primarily by the intensity and scope of emotion which has prompted it. The creation of works of art involves all degrees of intention, from the hut in the wilderness rudely thrown together, whose purpose was shelter, to a Gothic cathedral, in its mult.i.tudinousness eloquent of man's wors.h.i.+p and aspiration. The man who moulded the first bowl, adapting its form as closely as possible to its use and shaping its proportions for his own pleasure to satisfy his sense of harmony and rhythm, differs from the builders of the Parthenon only in the degree of intensity of his inspiring emotion and in the measure of his controlling thought. The beauty of accomplished form of cathedral and of temple is compelling; and we may forget that they rose out of need. Both hut and bowl are immediately useful, and their beauty is not so evident,--that little touch of feeling which wakens a response in us. But in their adaptation to their function they become significant; the satisfaction which accompanies expression is communicated to us as we apprehend in the work the creator's intention and we realize in ourselves what the creation of it meant to him as the fulfillment of his need and the utterance of his emotion.

So the expressive power of an individual work is conditioned originally by the amount of feeling that enters into the making of it.

Every phrase of a Beethoven symphony is saturated with emotion, and the work leads us into depths and up to heights of universal experience, disclosing to us tortuous ways and infinite vistas of the possibilities of human feeling. A simple earthen jug may bear the impress of loving fingers, and the crudely turned form may be eloquent of the caress of its maker. So we come to value even in the humblest objects of use this autographic character, which is the gate of entrance into the experience of the men who fas.h.i.+oned them.

Every maker strives toward perfection, the completest realization of his ideal within his power of execution. But the very shortcomings of his work are significant as expressive of what he felt and was groping after; they are so significant that by a curious perversion, machinery, which in our civilized day has supplanted the craftsman, tries by mechanical means to reproduce the roughness and supposed imperfections of hand work. Music is the consummate art, in which the form and the content are one and inextricable; its medium is the purest, least alloyed means of expression of instant emotion.

Architecture, in its harmonies and rhythms, the gathering up of details into the balanced and perfect whole, partakes of the nature of music. But the arts of use and decoration also have their message for the spirit. There is no object fas.h.i.+oned by the hand of man so humble that it may not embody a true thought and a sincere delight.

There is no pattern or design so simple and so crude that it may not be the overflow of some human spirit, a mind and heart touched to expression.

IX

REPRESENTATION

BEFORE me is a little bowl of old Satsuma. As I look at it there wakens in me a responsive rhythm, and involuntarily my fingers move as if to caress its suave and lovely lines. The rich gold and mingled mellow browns of its surface pattern intricately woven are a gracious harmony and a delight. Gradually, as I continue to look on it, a feeling is communicated to me of the maker's own joy in his work; and the bowl, its harmonies and rhythms, and all that it expresses, become part of me. There it is, complete in itself, gathering up and containing within itself the entire experience. My thoughts, sensations, feelings do not go beyond the bowl.

Another time I am standing in the hall of the Academy in Florence.

At the end of the corridor towers a superb form. I see that it is the figure of a youth. His left hand holds a sling drawn across his shoulder; his right arm hangs by his side, his hand grasping a pebble close to his thigh; calm and confident, his head erect, his strength held in leash waiting to be loosed, he fronts the oncoming of the foe.

The statue is the presentation of n.o.ble form, and it wakens in me an accordant rhythm; I feel in myself something of what youthful courage, life, and conscious power mean. But my experience does not stop there. The statue is not only presentation but representation.

It figures forth a youth, David, the Hebrew shepherd-boy, and he stands awaiting the Philistine. I have read his story, I have my own mental image of him, and about his personality cl.u.s.ter many thoughts. To what Michelangelo shows me I add what I already know. Recognition, memory, knowledge, facts and ideas, a whole store of a.s.sociations allied with my previous experience, mingle with my instant emotion in its presence. The sculptor, unlike the potter, has not created his own form; the subject of his work exists outside of him in nature. He uses the subject for his own ends, but in his treatment of it he is bound by certain responsibilities to external truth. His work as it stands is not completely self-contained, but is linked with the outer world; and my appreciation of it is affected by this reference to extrinsic fact.

An artist is interested in some scene in nature or a personality or situation in human life; it moves him. As the object external to him is the stimulus of his emotion and is a.s.sociated with it, so he uses the object as the symbol of his experience and means of expression of his emotion. Here, then, the feeling, to express which the work is created, gathers about a subject, which can be recognized intellectually, and the fact of the subject is received as in a measure separate from the feeling which flows from it. In a painting of a landscape, we recognize as the basis of the total experience the fact that it is a landscape, so much water and field and sky; and then we yield ourselves to the _beauty_ of the landscape, the emotion with which the artist suffuses the material objects and so transfigures them. Into representative art, therefore, there enters an element not shared by the arts of pure form, the element of _the subject,_ carrying with it considerations of objective truth and of likeness to external fact. Toward the understanding of the total scope of a picture or a statue, and by inference and application of the principles, toward the understanding of literature as well, it may help us if we determine the relation of beauty to truth and the function and value of the subject in representative art.

The final significance of a work of art is beauty, received as emotional experience. Nature becomes beautiful to us at the point where it manifests a harmony to which we feel ourselves attuned. At the moment of enjoyment we unconsciously project our personality into this harmony outside of us, identifying ourselves with it and finding it at that instant the expression of something toward which we reach and aspire. When we come consciously to reason about our experience, we see that the harmony external to us which we feel as the extension of ourselves does not stop with the actual material itself of nature, but emanates from it as the expression of nature's spirit. The harmony is a harmony of relations, made visible through material, and significant to us and beautiful in the measure that we respond to it.

It is the beauty of the object, its significance for the spirit, that primarily moves the artist to expression. Why one landscape and not another impels him to render it upon his canvas is not to be explained. This impulse to immediate and concrete utterance is inspiration. And inspiration would seem to be a confluence of forces outside of the individual consciousness or will, focused at the instant into desire, which becomes the urge to creation. "The mind in creation," says Sh.e.l.ley, "is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power rises from within, like the colour of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure." The artist does not say, "Lo, I will paint a landscape; let me find my subject!" The subject presents itself. There it is, by chance almost,--a sudden harmony before him, long low meadows stretching away to the dark hills, the late sun striking on the water, gold and green melting into a suffusing flush of purple light, a harmony of color and line and ma.s.s which his spirit leaps out to meet and with which it fuses in a larger unity. In the moment of contact all consciousness of self as a separate individuality is lost. Out of the union of the two principles, the spirit of man and the beauty of the object, is born the _idea,_ which is to come to expression as a work of art.

But the artist is a mind as well as a temperament. Experience is a swing of the pendulum between the momentary ecstasy of immediate contact and the subsequent reaction upon the moment, which is consciousness of it. In order to make his vision actual, the artist rises out of the domain of feeling into that of thought. The landscape has compelled him; it is now he who must compel the landscape. To the shaping of his work he must bring to bear all his conscious power of selection and organization and all his knowledge of the capabilities and resources of his means. Art springs out of emotion; painting is a science. The artist's command of his subject as the symbol of his idea derives from the stern and vigorous exercise of mind. The rightness of his composition is determined by a logic more flexible, perhaps, but no less exacting than the laws of geometry. By the flow of his line and the disposition of his ma.s.ses, the artist must carry the eye of the beholder along the way he wants it to travel until it rests upon the point where he wants it to rest.

There must be no leaks and no false directions; there must be the cosmos within the frame and nothing outside of it. The principles of perspective have been worked out with a precision that ent.i.tles them to rank as a science. Color has its laws, which, again, science is able to formulate. These processes and formulas and laws are not the whole of art, but they have their place. The power to feel, the imaginative vision, and creative insight are not to be explained. But knowledge too, acquired learning and skill, plays its part, and to recognize its function and service is to be helped to a fuller understanding of the achievement of the artist.

Gifted with a vibrant, sensitive temperament, endowed with discriminating and organizing power of mind, equipped with a knowledge of the science and the mechanics of his craft, and trained to skill in manual execution, the artist responds to the impulse of his inspiration. His subject is before him. But what is his subject? A scene in nature furnishes him the objective base of his picture, but properly his work is the expression of what he feels. A storm may convey to different men entirely different impressions. In its presence one man may feel himself overwhelmed with terror. These wild, black skies piling in upon him, the hilltops that seem to race through the clouds, the swaying, snapping trees, the earth caught up in the mad grasp of the tempest, may smite his soul with the pitilessness of nature and her inexorable blind power. Another thrills with joy in this cosmic struggle, the joy of conflict which he has known in his own life, the meeting of equal forces in fair fight, where the issue is still doubtful and victory will fall at last upon the strong, though it is not the final triumph but the present struggle that makes the joy. In rendering the "subject" upon his canvas, by the manipulation of composition and line and ma.s.s and color, he makes the storm ominous and terrible, or glorious, according as he feels.

The import of his picture is not the natural fact of the storm itself, but its significance for the emotions.

A work of representative art is the rendering of a unity of impression and harmony of relations which the artist has perceived and to which he has thrilled in the world external to him. He presents not the facts themselves but their spirit, that something which endows the facts with their significance and their power to stir him. As the meaning of nature to the beholder is determined by the effect it produces on his mind and temperament, so the artist, in the expression of this meaning, aims less at a statement of objective accuracy of exterior appearance than at producing a certain effect, the effect which is the equivalent of the meaning of nature to him. Thus the painter who sees beyond the merely intellectual and sensuous appeal of his subject and enters into its spirit, tries to render on his canvas, not the actual color of nature, but the sensation of color and its value for the emotions. With the material splendor of nature,--her inexhaustible lavish wealth of color, the glory of life which throbs through creation, the mystery of actual movement,--art cannot compete. For the hues and tones of nature, infinite in number and subtlety, the painter has only the few notes within the poor gamut of his palette.

How can he quicken his dull paint with the life-beat of palpitating flesh, or the sculptor animate the rigid marble with the vibrations of vivid motion? But where nature is infinite in her range she is also scattering in her effects. By the concentration of divergent forces, art gains in intensity and directness of impression what it sacrifices in the scope of its material. Michelangelo uses as his subject David, the shepherd-boy; but the person, the mere name, does not signify. What his work embodies is triumphant youth, made visible and communicable. When Millet shows us the peasant, it is not what the peasant is feeling that the artist represents, but what Millet felt about him. The same landscape will be rendered differently by different men. Each selects his details according to the interest of his eye and mind and feeling, and he brings them into a dominant harmony which stands to him for the meaning of the landscape. None of the pictures is an accurate statement of the facts as they are, off there in nature; all are true to the integrating inner vision. The superficial observer sees only the accidents, and he does not distinguish relative importance. The artist, with quicker sensibilities and a trained mind, a.n.a.lyzes, discovers the underlying principle, and then makes a synthesis which embodies only the essential; he seizes the distinctive aspect of the object and makes it salient. There may be, of course, purely descriptive representation, which is a faithful record of the facts of appearance as the painter sees them, without any feeling toward them; here he works as a scientist, not as an artist.

Merely imitative painting falls short of artistic significance, for it embodies no meaning beyond the external fact. It is the expressiveness of the object that the true artist cares to represent; it is its expressiveness, its value for the emotions, that const.i.tutes its beauty.

To achieve beauty the representative artist bases his work upon the truth of nature. It is nature that supplies him with his motive,--some glimpse, some fragment, which reveals within itself a harmony. It may be a form, as a tree, a man, a mountain range, the race of clouds across the sky; it may be a color-harmony or "arrangement," in which color rather than form is the dominant interest, as with a landscape or an interior; it may be the effects of light, as the suns.h.i.+ne playing over golden haystacks, or the glint of light on metal, or the sheen of lovely fabrics. Out of the complex of interests and appeals which an object offers, what is the _truth_ of the object?

The truth of nature resides not in the accidents of surface but in the essential relations, of which the surface is the manifestation. A birch tree and an apple tree are growing side by side. Their roots strike down into the same soil, their branches are warmed by the same sun, wet by the same rains, and swept by the same winds. The birch tree is always lithe and gracious and feminine; the apple tree is always bent and sternly gnarled like the hand of an old man. The life-force which impels the tree to growth is distinctive to each kind. Within all natural objects, then, a crystal, a tree, a man, there is a shaping principle which determines their essential form. But no two individual apple trees are precisely alike; from the essential form of the tree there are divergences in the single manifestations. Though subject to accident and variation, however, every tree exhibits a characteristic, inviolate _tendency,_ and remains true to the inner life-principle of its being. The "truth" of the apple tree is this distinctive, essential form, by virtue of which it is an apple tree and not some other kind, the form which underlies and allows for all individual variations. What the painter renders on his canvas is not the superficial accidents of some single tree, but by means of that, he seeks to image forth in color and form the tendency of all trees.

The truth of an object presents itself to the imagination as design, for this organic, shaping principle of things, expressed in colored myriad forms throughout the endless pageantry of nature, is apprehended by the spirit of man as a harmony; and in the experience of the artist truth identifies itself with beauty.

The distinction between the accidental surface of things and the significance that may be drawn out of them is exemplified by the difference between accuracy and truth in representation. Accurate drawing is the faithful record of the facts of appearance as offered to the eye. Truth of drawing is the rendering in visible terms of the meaning and spirit of the object, the form which the object takes not simply for the eye but for the mind. A pencil sketch by Millet shows a man carrying in each hand a pail of water. The arms are drawn inaccurately, in that they are made too long. What Millet wanted to express, however, was not the physical shape of the arms, but the feeling of the burden under which the man was bending; and by lengthening the arms he has succeeded in conveying, as mere accuracy could not express it, the sensation of weight and muscular strain. In Hals' picture of the "Jester" the left hand is sketched in with a few swift strokes of the brush. But so, it "keeps its place" in relation to the whole; and it is more nearly right than if it had been made the centre of attention and had been drawn with the most meticulous precision. The hand is not accurate, but it is true.

Similarly, size is an affair not of physical extent but of proportion. A figure six inches high may convey the same value as a figure six feet high, if the same proportions are observed. A statue is the presentation, not of the human body, but of the human form, and more than that, of what the form expresses. When I am talking with my friend I am aware of his physical presence detaching itself from the background of the room in which we are. But I feel in him something more. And that something more goes behind the details of his physical aspect. His eyes might be blue instead of brown, his nose crooked rather than straight; he might be maimed and disfigured by some mishap. These accidents would not change for me what is the reality. My friend is not his body, though it is by his body that he exists; the reality of my friend is what he essentially is, what he is of the spirit. A photograph of a man registers certain facts of his appearance at that moment. The eye and the mind of the artist discern the truth which underlies the surface; the artist feels his sitter not as a face and a figure, a mere body, but as a personality; and the portrait expresses a man.

As grasped by our finite minds, there are partial truths and degrees of truth. There are, for example, the facts of outer appearance, modified in our reception of them by what we know as distinct from what we really see. Thus a tree against the background of hill or sky seems to have a greater projection and relief than is actually presented to the eye, because we _know_ the tree is round. Manet's "Girl with a Parrot," which appears to the ordinary man to be too flat, is more true to reality than any portrait that "seems to come out of its frame." Habitually in our observation of objects about us, we note only so much as serves our practical ends; and this is the most superficial, least essential aspect. Projection is a partial truth, and to it many painters sacrifice other and higher truths. Manet, recovering the "innocence of the eye" and faithful to it, has penetrated the secrets and won the truth of light. Botticelli saw the world as sonorous undulations of exquisite line; and his subtly implicated, evanescent patterns of line movement, "incorrect" as they may be superficially in drawing, caress the eye as music finds and satisfies the soul. When such is his power over us, it is difficult to say that Botticelli had not some measure of the truth. The world of the Venetians sang full-sounding harmonies of glorious color.

Velasquez saw everything laved around with a flood of silver quiet atmosphere. All in their own way have found and shown to us a truth.

To render what he has seen and felt in the essence and meaning of it, the artist seeks to disengage the shaping principle of the particular aspect of truth, which has impressed him, from all accidents in its manifestation. To make this dominant character salient beyond irrelevant circ.u.mstance, art works by selection. Art is necessarily a compromise. It isolates some elements and sacrifices others; but it is none the less true on that account. The mere material of the object is more or less fixed, but the relations which the object embodies are capable of many combinations and adjustments, according to the mind and temperament of the individual artist who is moved by it.

All art is in a certain sense abstraction; all art in a measure idealizes.

It is abstraction in the sense that it presents the intrinsic and distinctive qualities of things, purged of accident.

Art does not compete with nature; it is a statement of the spirit and intention of nature in the artist's own terms. The test of the work is not apparent and superficial likeness, but truth. Art idealizes in the measure that it disengages the truth. In this aspect of it the work is ideal as distinct from merely actual. There is a practice in art which draws its standard of beauty, its ideal, not from nature but from other art, and which seeks to "improve nature" by the combination of arbitrarily chosen elements and by the modification of natural truth to fit a preconceived formula. The Eclectics of Bologna, in the seventeenth century, sought to combine Raphael's perfection of drawing and composition, Michelangelo's sublimity and his mastery of the figure, and Correggio's sweet sentiment and his supremacy in the rendering of light and shade, fondly supposing thus that the sum of excellent parts is equivalent to an excellence of the whole. This is false idealism. The Greeks carried their research for certain truths of the human form to the point of perfection and complete realization.

The truth of the Greeks was mistaken by the pseudo-cla.s.sicists and misapplied. Thus Delacroix exclaimed ironically, "In order to present an ideal head of a negro, our teachers make him resemble as far as possible the profile of Antinous, and then say, 'We have done our utmost; if, nevertheless, we fail to make the negro beautiful, then we ought not to introduce into our pictures such a freak of nature, the squat nose and thick lips, which are so unendurable to the eyes.'" True idealism treats everything after its own kind, making it more intensely itself than it is in the play of nature; the athlete is more heroically an athlete, the negro more vividly a negro. True idealism seeks to express the tendency by virtue of which an object is what it is. The abstraction which art effects is not an unreality but a higher reality. It is not the mere type, that art presents, for the type as such does not exist in nature. The individual is not lost but affirmed by this reference to the inner principle of its being. A good portrait has in it an element of caricature; the difference between portraiture and caricature is the difference between emphasis and exaggeration. Art is not the falsification of nature, but the fuller realization of it. It is the interpretation of nature's truth, the translation of it, divined by the artist, into simpler terms to be read and understood by those of less original insight. The deeper the penetration into the life-force and shaping principle of nature, the greater is the measure of truth.

In representative art the truth of nature is the work's objective base.

What the artist finally expresses is the relation of the object to his own experience. A work of art is the statement of the artist's insight into nature, moulded and suffused by the emotion attending his perception. Of the object, he uses that aspect and that degree of truth which serve him for the expression of his feeling toward it. What is called "realism" is one order of truth, one way of seeing.

"Impressionism" is another order of truth. "Idealism" is still another.

But all three elements blend in varying proportion in any work.

Even the realist, who "paints what he sees," has his ideal, which is the effect he sets himself to produce by his picture, and he paints according to his impression. He renders not the object itself but his mental image of it; and that image is the result of his way of seeing and feeling, his habit of mind, his interest, and his store of memories.

The idealist must base his work upon some kind of reality, or it is a monstrosity; he is obliged to refer to the external world for his symbols. The impressionist, who concerns himself with the play of light over surfaces in nature, is seeking for truth, and he cares to paint at all because that play of light, seemingly so momentary and so merely sensuous, has a value for his spirit of which he may or may not be wholly conscious; and these s.h.i.+fting effects are the realization of his ideal. Unwitting at the moment of contact itself of the significance that afterwards is to flow articulately from his work, the artist, in the presence of his object, knows only that he is impelled to render it. As faithfully as possible he tries to record what he sees, conscious simply that what he sees gives him delight. His vision wakens his feeling, and then by reaction his feeling determines his vision, controlling and directing his selection of the details of aspect. When Velasquez, engaged on a portrait of the king, saw the maids of honor graciously attending on the little princess, he did not set about producing a _picture,_ as an end in itself. In the relation of these figures to one another and to the background of the deep and high-vaulted chamber in which they were standing, each object and plane of distance receiving its just amount of light and fusing in the unity of total impression, were revealed to him the wonder and the mystery of nature's magic of light. This is what he tried to render. His revelation of natural truth, wrung from nature's inmost latencies and shown to us triumphantly, becomes a thing of beauty.

So the differences among the various "schools" in art are after all largely differences of emphasis. The choice of subject or motive, the angle from which it is viewed, and the method of handling, all are determined by the artist's kind of interest; and that interest results from what the man is essentially by inheritance and individual character, and what he is moulded into by environment, training, and experience. It may happen that the external object imposes itself in its integrity upon the artist's mind and temperament, and he tries to express it, colored inevitably by his feeling toward it, in all faithfulness to the feet as he sees it. Millet said, "I should never paint anything that was not the result of an impression received from the aspect of nature, whether in landscape or figures." Millet painted what he saw, but he painted it as only he saw it. Or again it happens that an artist imposes his feeling upon nature. Thus Burne-Jones said, "I mean by a picture a beautiful romantic dream of something that never was, never will be--in a light better than any that ever shone--in a land no one can define or remember, only desire." Whether true to nature or true to the creative inner vision, the work of both men embodies truth. Sometimes an artist effaces entirely his own individuality, as in Greek sculpture and Gothic architecture, and the mere name of the creator does not signify. George Frederick Watts is reported to have said, "If I were asked to choose whether I would like to do something good, as the world judges popular art, and receive personally great credit for it, or, as an alternative, to produce something which should rank with the very best, taking a place with the art of Pheidias or t.i.tian, with the highest poetry and the most elevating music, and remain unknown as the perpetrator of the work, I should choose the latter." Sidney Lanier wrote, "It is of little consequence whether _I_ fail; the _I_ in the matter is small business. . . . Let my name perish,--the poetry is good poetry and the music is good music, and beauty dieth not, and the heart that needs it will find it." Or on the contrary, a work may bear dominantly, even aggressively, the impress of the distinctive individuality of its creator, as with Carlyle's prose and Browning's poetry. Whistler seems at times to delight less in the beauty of his subject than in the _exercise_ of his own power of refinement. Where another man's art is personal, as with Velasquez or Frans Hals, Whistler's art becomes egotistical. He does not say, "Lo, how mysterious is this dusk river-side, how tenderly serene this mother, how wistful and mighty is this prophet-seer!" He exclaims rather, "Note how subtly I, Whistler, have seen. Rejoice with me in my powers of vision and of execution." There is no single method of seeing, no one formula of expression and handling. The truth both of nature and of art is great and infinitely various. For art, like nature, is organic, allowing for endless modifications, while remaining true to the inner principle of its being.

The judgment of truth is a delicate business. To test the truth of a work of art by reference to the truth of nature is to presuppose that our power of perception is equal to the artist's power, and that our knowledge of the object represented is equal to his knowledge of it.

The ordinary man's habitual contact with the world is practical, and his knowledge of natural fact, based upon the most superficial aspect of it and used for practical purposes, tends to falsify his vision. The artist's contact with the world, in his capacity as artist, is one of feeling; he values life, not for its material rewards and satisfactions, but for what it brings to him of emotional experience. The ordinary man uses nature for his own workaday ends. The artist loves nature, and through his love he understands her. His knowledge of natural fact, instead of falsifying his vision, reinforces it. He studies the workings of nature's laws as manifested in concrete phenomena around him,--the movement of storms, the growth of trees, the effects of light,--penetrating their inmost secrets, that he may make them more efficient instruments of expression. He uses his understanding of anatomy, of earth-structure, of the laws of color, as the means to a fuller and juster interpretation. As he receives the truth of nature with reverence and joy, so he trans.m.u.tes truth into beauty.

An artist's interest in the truth of nature is not the scientist's interest, an intellectual concern with knowledge for the sake of knowledge. The artist receives nature's revelation of herself with emotion. The deeper he penetrates into her hidden ways, the greater becomes her power to stir him. The artist values his "subject,"

therefore, as the stimulus of emotion and as the symbol by means of which he expresses his emotion and communicates it. The value of the subject to the appreciator, however, is not immediately clear. It is not easy for us to receive the subject purely as the artist shows it to us and independently of our own knowledge of it. About it already gather innumerable a.s.sociations, physical, practical, intellectual, sentimental, and emotional, all of them or any of them, which result from our previous contact with it in actual life. Here is a portrait of Carlyle. I cannot help regarding the picture first of all from the point of view of its likeness to the original. This is a person with whom I am acquainted, an individual, by name Carlyle. And my reaction on the picture is determined, not by what the artist has to say about a great personality interpreted through the medium of color and form, but by what I already know about Carlyle. Or here a painting shows me a landscape with which I am familiar. Then instead of trying to discover in the picture what the artist has seen in the landscape and felt in its presence, letting it speak to me in its own language, I allow my thoughts to wander from the canvas, and I enjoy the landscape in terms of my own knowledge and remembrance of it. The artist's work becomes simply a point of departure, whereas it should be not only the beginning but also the end and fulfillment of the complete experience. What is, then, we may ask, the relation of the fact of the subject to the beauty and final message of the work?

The pleasure which attends the recognition of the subject is a legitimate element in our enjoyment of art. But the work should yield a delight beyond our original delight in the subject as it exists in nature. The significance of a work of representative art depends not upon the subject in and of itself, but upon what the artist has to say about it. A rose may be made to reveal the cosmos; a mountain range or cloud-swept s.p.a.ces of the upper air may be niggled into meanness. The ugly in practical life may be transfigured by the artist's touch into supreme beauty. _"Il faut pouvoir faire servir le trivial a l'expression du sublime, c'est la vraie force,"_ said one who was able to invest a humble figure with august dignity. Millet's peasants reveal more of G.o.dlike majesty than all the array of personages in the pantheon of post-Raphaelite Italy and the cla.s.sic school of France. Upon his subject the artist bases that harmony of relations which const.i.tutes the beauty and significance of his work.

Brought thus into a harmony, the object represented is made more vivid, more intensely itself, than it is in nature, with the result that we receive from the representation a heightened sense of reality and of extended personality. The importance of the subject, therefore, is measured by the opportunity it affords the artist, and with him his appreciators, to share in the beauty of nature and life. A picture should not "standout" from its frame, but should go back into it, reaching even into infinity. Our own a.s.sociations attaching to the subject lose themselves as they blend with the artist's revelation of the fuller beauty of his object; and finally all becomes merged in the emotional experience.

Eliminating the transient and accidental, a work of art presents the essential and eternal. Art appeals not to the intellect and the reason, but to the imagination and the emotions. The single work, therefore, is concrete and immediate. But universal in its scope, it transcends the particularities of limited place and individual name. We must distinguish between the abstractly typical and the universal. The representative artist does not conceive an abstraction and then seek to find a symbol for it. That is the method of allegory, where spring, for example, is figured as a young woman scattering flowers.

Allegory is decorative rather than representative in intention. The artist receives his inspiration and stimulus from some actual concrete bit of nature, a woodland wrapt in tender mists of green, a meadow gold and softly white with blossoms, a s.h.i.+mmering gauze of sun touched air, moist and vibrating, enfolding it. That is what he paints. But he paints it so that it is spring, and instinct with the spirit of all springs. Michelangelo does not intellectually conceive youth and then carve a statue. Some boy has revealed to him the beauty of his young strength, and the sculptor moves to immediate expression.

He calls his statue David, but the white form radiates the rhythm and glory of all youth. And as we realize youth in ourselves, more poignantly, more abundantly, the mere name of the boy does not matter. The fact that the portrait shows us Carlyle is an incident.

Carlyle is the "subject" of the picture, but its meaning is the twilight of a mighty, indomitable mind, made visible and communicable. His work is done; the hour of quiet is given, and he finds rest. Into this moment, eternal in its significance, into this mood, universal in its appeal, we enter, to realize it in ourselves. The subject of picture or statue is but the means; the end is life. Objective fact is trans.m.u.ted into living truth. Art is the manifestation of a higher reality than we alone have been able to know. It begins with the particular and then transcends it, admitting us to share in the beauty of the world, the cosmic harmony of universal experience.

X

THE PERSONAL ESTIMATE

ART starts from life and in the end comes back to it. Art is born out of the stirring of the artist's spirit in response to his need of expression, and it reaches its fulfillment in the spirit of the appreciator as it answers his need of wider and deeper experience.

Midway on its course from spirit to spirit it traverses devious paths.

The emotion out of which art springs and of which it is the expression is controlled and directed by the shaping force of mind, and it embodies itself in material form. This material form, by virtue of its qualities, has the power to delight our senses; the skill which went into the fas.h.i.+oning of it, so far as we can recognize the processes of execution, gives us pleasure; the harmony which the work of art must manifest satisfies the mind and makes it possible for us to link the emotion with our own experience.

These paths which a work of art traverses in its course from its origin to its fulfillment I have tried to follow in their ramifications, and I have tried to trace them to their issue in appreciation. Some lovers of art may linger on the way and rest content with the distance they have come, without pressing forward to the end. A work of art is complex in its appeal; and it is possible to stop with one or another of its elements. Thus we may receive the work intellectually, recognizing its subject, and turning the artist's emotion into our thought and translating it from his medium of color and form or sound into our own medium of words. Here is a portrait of Carlyle; and Carlyle we _know_ as an author and as a man. This landscape is from the Palisades, where we have roamed in leisure hours. Before us is a statue of Zeus, whom our cla.s.sical reading has made a reality to us. This symphony gathers about a day in the country, suggesting an incident in our own experience of which we have pleasant remembrances. Intellectually, also, we enjoy the evidence of the artist's skill which the work exhibits. Or we may pa.s.s beyond the simple exercise of the intellect, and with a refinement of perception we may take a sensuous delight in the qualities of the material in which the work is embodied. This portrait is a subtle harmony of color and exquisite adjustment of line and ma.s.s. The luminous night which enwraps the Palisades is a solemn mighty chord. The white rhythm of this statue caresses the eye that follows it. This symphony is an intricate and wonderful wave-pattern upon a sea of billowing sound in which the listener immerses himself voluptuously. The essential significance of a work of art is not to be received apart from its form, but the form is more than merely sensuous in its appeal. Finally, therefore, the color and the composition of the portrait are but the point of meeting where we touch in energizing contact a powerful personality. Our spirit goes out into the night of these Palisades and dilates into immensity. This statue is Olympian majesty made visible, and in its presence we feel that we too are august. The symphony is a resolution of the struggle of our own tangled lives, a purification, and the experience of joy.

Art is the expression of experience, whether the experience enacts itself within the spirit of the artist or derives from his contact with the external world. So by the same token, art is finally to be received as experience. The ultimate meaning of a work of art to the appreciator is what it wakens in him of emotion. It is the artist's business, by the manipulation of his materials and his elements, by the choice of motive and the rendering, by the note and pitch of his color, the ordering of his line, the disposition of his ma.s.ses, to compel the direction of the emotion; he must not allow the solemnity and awe with which his night invests the Palisades to be mistaken by the beholder for terror or for mere obscurity. But the quality and the intensity of the emotion depend upon the temper of the appreciator's sensibilities and the depth and range of his experience of life. Art is not fixed and invariable in its effect.

"Vanity Fair" is a great novel. One man may read it for the sake of the story, and in his amus.e.m.e.nt and interest in following the succession of incident, he may for a while forget himself. A possible use to put one's reading to; yet for that man the book is not art.

Another may be entertained by the spectacle of the persons as they exhibit themselves in Thackeray's pages, much as he might stop a moment on the curbstone and watch a group of children at play in the street. Here he is a looker-on, holding himself aloof; and for him, again, the book is not art. Still a third may find in "Vanity Fair" a record of the customs and manners of English people at the beginning of the nineteenth century; and he adds this much to his stock of information. Still for him the book is not art. Not one of the three has touched in vital contact the essential meaning of "Vanity Fair." But the man who sees in the incidents of the book a situation possible in his own life, who identifies himself with the personages and acts out with them their adventures, who feels that he actually knows Rawdon Crawley and Becky Sharp, Jo Sedley, Dobbin, and Amelia, and understands their character and personality better here than in the actual world about him by force of Thackeray's greater insight and power of portraiture, who sees in English manners here represented the interpretation of his own surroundings, so that as a result of it all, his own experience becomes richer for his having lived out the life of the fict.i.tious persons, his own acquaintances have revealed themselves more fully, his own life becomes more intelligible,--for him at last the book is a work of art. So any work may be a mirror which simply reflects the world as we know it; it may be a point of departure, from which tangentially we construct an experience of our own: it is truly art only in the degree that it is revelation.

A work of art, therefore, is to be received by the individual appreciator as an added emotional experience. It appeals to him at all because in some way it relates itself to his own life; and its value to him is determined by the measure in which it carries him out into wider ranges of feeling. There are works whose absolute greatness he recognizes but yet which do not happen at the moment to find him. Constable comes to him as immensely satisfying; Turner, though an object of great intellectual interest, leaves him cold. He knows Velasquez to be supreme among painters, but he turns away to stand before Frans Hals, whose quick, sure strokes call such very human beings into actuality and rouse his spirit to the fullest response. Why is it that of two works of equal depth of insight into life, of equal scope of feeling, of the same excellence of technical accomplishment, one has an appeal and a message for him and not the other? What is the bridge of transition between the work and the spirit of the appreciator by which the subtle connection is established?

It comes back to a matter of harmony. Experience presents itself to us in fragments; and in so far as the parts are scattering and unrelated, it is not easy for us to guess the purpose of our being here.

But so soon as details, which by virtue of some selecting principle are related to one another, gather themselves into a whole, chaos is resolved into order, and this whole becomes significant, intelligible, and beautiful. Instinctively we are seeking, each in his own way, to bring the fragments of experience into order; and that order stands to each of us for what we are, for our individual personality, the self.

We define thus our selecting principle, by which we receive some incidents of experience as related to our development and we reject others as not related to it. Thus the individual life achieves its integrity, its unity and significance. This, too, is the process of art. A landscape in nature is capable of a various, interpretation. By bringing its details into order and unity, the artist creates its beauty.