Modern Painting Part 9

The aestheticism of the Glasgow school, of which we have heard so much lately, is identical with that of the New English Art Club, and the two societies are in a measure affiliated. Nearly all the members of the Glasgow school are members of the New English Art Club, and it is regrettable that they do not unite and give us an exhibition that would fairly stare the Academy out of countenance. Among the Glasgow painters the most prominent and valid talent is Mr. Guthrie's. His achievements are more considerable and more personal; and he seems to approach very near to a full expression of the pictorial aspirations of his generation. Years ago his name was made known to me by a portrait of singular beauty; an oasis it was in a barren and bitter desert of Salon pictures. Since then he has adopted a different and better method of painting; and an excellent example of his present style is his portrait of Miss Spencer, a lady in a mauve gown. The slightness of the intention may be urged against the picture; it is no more than a charming decoration faintly flushed with life. But in his management of the mauve Mr. Guthrie achieved quite a little triumph: and the foreground, which is a very thin grey pa.s.sed over a dark ground, is delicious, and the placing of the signature is in the right place. Most artists sign their pictures in the same place. But the signature should take a different place in every picture, for in every picture there is one and only one right place for the signature; and the true artist never fails to find the place which his work has chosen and consecrated for his name.

I confess myself to be a natural and instinctive admirer of Mr.

Guthrie's talent. His picture, "Midsummer", exhibited at Liverpool, charmed me. Turning to my notes I find this description of it: "A garden in the summer's very moment of complete efflorescence; a bower of limpid green, here and there interwoven with red flowers. And three ladies are there with their tiny j.a.panese tea-table. One dress--that on the left--is white, like a lily, drenched with green shadows; the dress on the right is a purple, beautiful as the depth of foxglove bells, A delicate and yet a full sensation of the beauty of modern life, from which all grossness has been omitted--a picture for which I think Corot would have had a good word to say." In the same exhibition there was a pastel by Mr. Guthrie, which quite enchanted me with its natural, almost nave, grace. Turning to my notes I extract the following lines: "A lady seated on a light chair, her body in profile, her face turned towards the spectator; she wears a dress with red stripes. One hand hanging by her side, the other hand holding open a flame-coloured fan; and it is this that makes the picture. The feet laid one over the other. The face, a mere indication; and for the hair, charcoal, rubbed and then heightened by two or three touches of the rich black of pastel-chalk. A delicate, a precious thing, rich in memories of Watteau and Whistler, of boudoir inspiration, and whose destination is clearly the sitting-room of a dilettante bachelor."

Mr. Henry, another prominent member of the Glasgow school, exhibited a portrait of a lady in a straw hat--a rich and beautiful piece of painting, somewhat "made up" and over-modelled, still a piece of painting that one would like to possess. Mr. Hornell's celebrated "Midsummer", the detestation of aldermen, was there too. Imagine the picture cards, the ten of diamonds, and the eight of hearts shuffled rapidly upon a table covered with a Persian tablecloth. To ignore what are known as values seems to be the first principle of the Glasgow school. Hence a crude and discordant coloration without depth or richness. Hence an absence of light and the mystery of aerial perspective. But I have spoken very fully on this subject elsewhere.

Fifteen years ago it was customary to speak slightingly of the Old Masters, and it was thought that their mistakes could be easily rectified. Their dark skies and black foregrounds hold their own against all Monet's cleverness, and it has begun to be suspected that even if nature be industriously and accurately copied in the fields, the result is not always a picture. The palette gives the value of the gra.s.s and of the trees, but, alas, not of the sky-the sky is higher in tone than the palette can go; the painter therefore gets a false value. Hence the tendency among the _plein airists_ to leave out the sky or to do with as little sky as possible. A little reef is sufficient to bring about a great s.h.i.+pwreck; a generation has wasted half its life, and the Old Masters are again becoming the fas.h.i.+on. Mr.

Furse seems to be deeply impressed with the truth of the _new_ aestheticism. And he has succeeded within the limits of a tiny panel, a slight but charming intention. "The Great Cloud" rolls over a strip of lowland, lowering in a vast imperial whiteness, vague and shadowy as sleep or death. Ruysdael would have stopped for a moment to watch it. But its lyrical lilt would trouble a mind that could only think in prose; Sh.e.l.ley would like it better, and most certainly it would not fail to recall to his mind his own immortal verses--

"I am the daughter of earth and water, And the nursling of the sky; I pa.s.s through the pores of ocean and sh.o.r.es, I change, but I cannot die."

What will become of our young artists and their aspirations is a tale that time will unfold gradually, and for the larger part of its surprises we shall have to wait ten years. In ten years many of these aesthetes will have become common Academicians, working for the villas and perambulators of numerous families. Many will have disappeared for ever, some may be resurrected two generations hence, may be raised from the dead like Mr. Brabazon, our modern Lazarus--

"Lazare allait mourir une seconds fois,"--

or perchance to sleep for ever in Sir Joshua's bosom. That a place will be found there for Mr. Brabazon is one of the articles of faith of the younger generation. Mr. Brabazon is described as an amateur, and the epithet is marvellously appropriate; no one--not even the great masters--deserved it better. The love of a long life is in those water-colours--they are all love; out of love they have grown, in its light they have flourished, and they have been made lovely with love.

In a time of slushy David c.o.xes, Mr. Brabazon's eyes were strangely his own. Even then he saw Nature hardly explained at all--films of flowing colour transparent as rose-leaves, the lake's blue, and the white clouds curling above the line of hills--a sense of colour and a sense of distance, that was all, and he had the genius to remain within the limitations of his nature. And, with the persistency of true genius, Mr. Brabazon painted, with a flowing brush, rose-leaf water-colours, unmindful of the long indifference of two generations, until it happened that the present generation, with its love of slight things, came upon this undiscovered genius. It has hailed him as master, and has dragged him into the popularity of a special exhibition of his work at the Goupil Galleries. And it was inevitable that the present young men should discover Mr. Brabazon: for in discovering him, they were discovering themselves--his art is no more than a curious antic.i.p.ation of the artistic ideal of to-day.

The sketch he exhibits at the New English Art Club is a singularly beautiful tint of rose, spread with delicate grace over the paper. A little less, and there would be nothing; but a little beauty has always seemed to me preferable to a great deal of ugliness. And what is true about one is true about nearly all his drawings. We find in them always an harmonious colour contrast, and very rarely anything more. Sometimes there are those evanescent gradations of colour which are the lords.h.i.+p and signature of the colourist, and when _le ton local_ is carried through the picture, through the deepest shadows as through the highest lights, when we find it persisting everywhere, as we do in No. 19, "Lake Maggiore", we feel in our souls the joy that comes of perfect beauty. But too frequently Mr. Brabazon's colour is restricted to an effective contrast; he often skips a great many notes, touching the extremes of the octave with certainty and with grace.

But it is right that we should make a little fuss over Mr. Brabazon; for though this work is slight, it is an accomplishment--he has indubitably achieved a something, however little that something may be; and when art is disappearing in the destroying waters of civilisation, we may catch at straws. Beyond colour--and even in colour his limitations are marked--Mr. Brabazon cannot go. He entered St. Mark's, and of the delicacy of ornamentation, of the balance of the architecture, he saw nothing; neither the tracery of carven column nor the aerial perspective of the groined arches. It was his genius not to see these things--to leave out the drawing is better than to fumble with it, and all his life he has done this; and though we may say that a water-colour with the drawing left out is a very slight thing, we cannot fail to perceive that these sketches, though less than sonnets or ballades, or even rondeaus or rondels--at most they are triolets--are akin to the masters, however distant the relations.h.i.+p.

I have not told you about the very serious progress that Mr. George Thompson has made since the last exhibition; I have not described his two admirable pictures; nor mentioned Mr. Linder's landscape, nor Mr.

Buxton Knight's "Haymaking Meadows", nor Mr. Christie's pretty picture "A May's Frolic," nor Mr. MacColl's "Donkey Race". I have omitted much that it would have been a pleasure to praise; for my intention was not to write a guide to the exhibition, but to interpret some of the characteristics of the young generation.

The New English Art Club is very typical of this end of the century.

It is young, it is interesting, it is intelligent, it is emotional, it is cosmopolitan--not the Bouillon Duval cosmopolitanism of the Newlyn School, but rather an agreeable a.s.similation of the Montmartre cafe of fifteen years ago. Art has fallen in France, and the New English seems to me like a seed blown over-sea from a ruined garden. It has caught English root, and already English colour and fragrance are in the flower. A frail flower; but, frail or strong, it is all we have of art in the present generation. It is slight, and so most typical; for, surely, no age was ever so slight in its art as ours? As the century runs on it becomes more and more slight and more and more intelligent.

A sheet of Whatman's faintly flushed with a rose-tint, a few stray verses characterised with a few imperfect rhymes and a wrong accent, are sufficient foundation for two considerable reputations. The education of the younger generation is marvellous; its brains are excellent; it seems to be lacking in nothing except guts. As education spreads guts disappear, and that is the most serious word I have to say.

Without thinking of those great times when men lived in the giddiness and the exultation of a constant creation--when a day was sufficient for Rubens to paint the "Kermesse" thirteen days to paint the "Mages", even or eight to paint the "Communion de St. Francois d'a.s.sise"--and blotting from our mind the fabulous production of Tintoretto and Veronese, let us merely remember that thirty years ago Millais painted a beautiful picture every year until marriage and its consequences brought his art to a sudden close. One year it was "Autumn Leaves", the following year it was "St. Agnes' Eve", and behind these pictures there were at least ten masterpieces--"The Orchard", "The Rainbow", "Mariana in the Moated Grange", "Ophelia", etc. Millais is far behind Veronese and Tintoretto in magnificent excellence and extraordinary rapidity of production; but is not the New English Art Club even as far behind the excellence and fertility of production of thirty years ago?

A GREAT ARTIST.

We have heard the words "great artist" used so often and so carelessly that their tremendous significance escapes. The present is a time when it is necessary to consider the meaning, latent and manifest, of the words, for we are about to look on the drawings of the late Charles Keene.

In many the words evoke the idea of huge canvases in which historical incidents are depicted, conquerors on black horses covered with gold trappings, or else figures of Christ, or else the agonies of martyrs.

The portrayal of angels is considered by the populace to be especially imaginative, and all who affect such subjects are at least in their day termed great artists. But the words are capable of a less vulgar interpretation. To the select few the great artist is he who is most racy of his native soil, he who has most persistently cultivated his talent in one direction, and in one direction only, he who has repeated himself most often, he who has lived upon himself the most avidly. In art, eclecticism means loss of character, and character is everything in art. I do not mean by character personal idiosyncrasies; I mean racial and territorial characteristics. Of personal idiosyncrasy we have enough and to spare. Indeed, it has come to be accepted almost as an axiom that it does not matter much how badly you paint, provided you do not paint badly like anybody else. But instead of noisy idiosyncrasy we want the calm of national character in our art. A national character can only be acquired by remaining at home and saturating ourselves in the spirit of our land until it oozes from our pens and pencils in every slightest word, in every slightest touch. Our lives should be one long sacrifice for this one thing--national character. Foreign travel should be eschewed, we should turn our eyes from Paris and Rome and fix them on our own fields; we should strive to remain ignorant, making our lives mole-like, burrowing only in our own parish soil. There are no universities in art, but there are village schools; each of us should choose his master, imitate him humbly, striving to continue the tradition. And while labouring thus humbly, rather as handicraftsmen than as artists, our personality will gradually begin to appear in our work, not the weak febrile idiosyncrasy which lights a few hours of the artist's youth, but a steady flame nourished by the rich oil of excellent lessons. If the work is good, very little personality is required. Are the individual temperaments of Terburg, Metzu, and Peter de Hoogh very strikingly exhibited in their pictures?

The paragraph I have just written will seem like a digression to the careless reader, but he who has read carefully, or will take the trouble to glance back, will not fail to see, that although in appearance digressive, it is a strict and accurate comment on Charles Keene, and the circ.u.mstances in which his art was produced. Charles Keene never sought after originality; on the contrary, he began by humbly imitating John Leech, the inventor of the method. His earliest drawings (few if any of them are exhibited in the present collection) were hardly distinguishable from Leech's. He continued the tradition humbly, and originality stole upon him unawares. Charles Keene was not an erudite, he thought of very little except his own talent and the various aspects of English life which he had the power of depicting; but he knew thoroughly well the capacities of his talent, the direction in which it could be developed, and his whole life was devoted to its cultivation. He affected neither a knowledge of literature nor of Continental art; he lived in England and for England, content to tell the story of his own country and the age he lived in; in a word, he worked and lived as did the Dutchmen of 1630.

He lived pure of all foreign influence; no man's art was ever so purely English as Keene's; even the great Dutchmen themselves were not more Dutch than Keene was English, and the result is often hardly less surprising. To look at some of these drawings and not think of the Dutchmen is impossible, for when we are most English we are most Dutch--our art came from Holland. These drawings are Dutch in the strange simplicity and directness of intention; they are Dutch in their oblivion to all interests except those of good drawing; they are Dutch in the beautiful quality of the workmans.h.i.+p. Examine the rich, simple drawing of that long coat or the side of that cab, and say if there is not something of the quality of a Terburg. Terburg is simple as a page of seventeenth-century prose; and in Keene there is the same deep, rich, cla.s.sic simplicity. The material is different, but the feeling is the same. I might, of course, say Jan Steen; and is it not certain that both Terburg and Steen, working under the same conditions, would not have produced drawings very like Keene's? And now, looking through the material deep into the heart of the thing, is it a paradox to say that No. 221 is in feeling and quality of workmans.h.i.+p a Dutch picture of the best time? The scene depicted is the honeymoon. The young wife sits by an open window full of sunlight, and the curtains likewise are drenched in the pure white light. How tranquil she is, how pa.s.sive in her beautiful animal life! No complex pa.s.sion stirs in that flesh; instinct drowses in her just as in an animal. With what animal pa.s.sivity she looks up in her husband's face!

Look at that peaceful face, that high forehead, how clearly conceived and how complete is the rendering! How slight the means, how extraordinary the result! The sunlight floods the sweet face so exquisitively stupid, and her soul, and the room, and the very conditions of life of these people are revealed to us.

And now, in a very rough and fragmentary fas.h.i.+on, hardly attempting more than a hurried transcription of my notes, I will call attention to some three or four drawings which especially arrested my attention.

In No. 10 we have a cab seen in wonderful perspective; the hind wheel is the nearest point, and in extraordinarily accurate proportion the vehicle and the animal attached to it go up the paper. The cabman turns half round to address some observation to the "fare", an old gentleman, who is about to step in. The roof of the cab cuts the body of the cabman, composing the picture in a most original and striking manner. The panels of the cab are filled in with simple straight lines, but how beautifully graduated are these lines, how much they are made to say! Above all, the hesitating movement of the old gentleman--how the exact moment has been caught! and the treatment of the long coat, how broad, how certain--how well the artist has said exactly what he wanted to say! Another very fine drawing is No. 11.

The fat farmer stands so thoroughly well in his daily habit; the great stomach, how well it is drawn, and the short legs are part and parcel of the stomach. The man is redolent of turnip-fields and rick-yards; all the life of the fields is upon him. And the long parson, clearly from the university, how well he clasps his hands and how the very soul of the man is expressed in the gesture! No. 16 is very wonderful.

What movement there is in the skirts of the fat woman, and the legs of the vendor of penny toys! Are they not the very legs that the gutter breeds?

No. 52: a big, bluff artist, deep-seated amid the ferns and gra.s.ses.

The big, bearded man, who thinks of nothing but his art, who lives in it, who would not be thin because fat enables him to sit longer out of doors, the man who will not even turn round on his camp-stool to see the woman who is speaking to him; we have all known that man, but to me that man never really existed until I looked on this drawing. And the treatment of the trees that make the background! A few touches of the pencil, and how hot and alive the place is with sunlight!

But perhaps the most wonderful drawing in the entire collection is No.

89. Never did Keene show greater mastery over his material. In this drawing every line of the black-lead pencil is more eloquent than Demosthenes' most eloquent period. The roll and the lurch of the vessel, the tumult of waves and wind, the mental and physical condition of the pa.s.sengers, all are given as nothing in this world could give them except that magic pencil. The figure, the man that the wind blows out of the picture, his hat about to leave his head, is not he really on board in a gale? Did a frock coat flap out in the wind so well before? And do not the att.i.tudes of the two women leaning over the side represent their suffering? The man who is not sea-sick sits, his legs stretched out, his hands thrust into his pockets, his face sunk on his breast, his hat crushed over his eyes. His pea-jacket, how well drawn! and can we not distinguish the difference between its cloth and the cloth of the frock of the city merchant, who watches with such a woful gaze the progress of the gathering wave? The weight of the wave is indicated with a few straight lines, and, strangely enough, only very slightly varied are the lines which give the very sensation of the merchant's thin frock coat made in the shop of a fas.h.i.+onable tailor.

It has been said that Keene could not draw a lady or a gentleman. Why not add that he was neither a tennis player nor a pigeon shot, a waltzer nor an accomplished French scholar? The same terrible indictment has been preferred against d.i.c.kens, and Mr. Henry James says that Balzac failed to prove he was a gentleman. It might be well to remind Mr. James that the artist who would avoid the fas.h.i.+on plate would do well to turn to the coster rather than the duke for inspiration. Keene's genius saved him from the drawing-room, never allowing his gaze to wander from where English characteristics may be gathered most plentifully--the middle and lower cla.s.ses.

I find in my notes mention of other drawings quite as wonderful as those I have spoken of, but s.p.a.ce only remains to give some hint of Keene's place among draughtsmen. As a humorist he was certainly thin compared to Leech; as a satirist he was certainly feeble compared to Gavarni; in dramatic, not to say imaginative, qualities he cannot be spoken of in the same breath as Cruikshank; but as an artist was he not their superior?

NATIONALITY IN ART.

In looking through a collection of Reynolds, Gainsboroughs, Dobsons, Morlands, we are moved by something more than the artistic beauty of the pictures. Seeing that peaceful farmyard by Morland, a dim remote life, a haunting in the blood, rises to the surface of the brain, like a water-flower or weed brought by a sudden current into sight of the pa.s.sing sky. Seeing that quiet man talking with his swineherd, we are mysteriously attracted, and are perplexed as by a memory; we grow aware of his house and wife, and though these things pa.s.sed away more than a hundred years ago, we know them all. That other picture, "Partridge Shooting", by Stubbs, how familiar and how intimate it is to us! and those days seem to go back and back into long ago, beyond childhood into infancy. The life of the picture goes back into the life that we heard from our father's, our grandfather's lips, a life of reminiscence and little legend, the end of which pa.s.sed like a wraith across the dawn of our lives. For we need not be very old to remember the squire ramming the wads home and calling to the setter that is too eagerly pressing forward the pointer in the turnips. A man of fifty can remember seeing the mail coach swing round the curve of the wide, smooth coach roads; and a man of forty, going by road to the Derby, and the block which came seven miles from Epsom. And so do these pictures take us to the heart of England, to the heart of our life, which is England, to that great circ.u.mstance which preceded our birth, and which gave not merely flesh and blood, but the minds that are thinking now. We have only to pa.s.s through a doorway to see sublimer works of art. But though Troyon and Courbet were greater artists than Morland, Morland whispers something that is beyond art, beyond even our present life; as a sh.e.l.l with the sound of the sea, these canvases are murmurous with the under life.

That young lady so charmingly dressed in white, she who holds a rose in her hand, is Miss Kitty Calcraft, by Romney. Do we not seem to know her? We ask when we met her, and where we spoke to her; and that mystic when and where seem more real than the moment of present life.

The present crowd of living folk fades from us, and we half believe, half know, that she spoke to us one evening on that terrace overlooking those wide pasture lands. We see the happy light of her eyes and hear the joy of her voice, and they stir in us all the impulses of race, of kith and kin.

Romney is often crude, but the worst that can be urged against this portrait is that it is superficial. But what charm and grace there is in its superficiality! Romney was aware of the grace and charm of the young girl as she sat before him in her white dress: he saw her as a flower; and in fluent, agreeable, well-bred and cultivated speech he has talked to us about her. The portrait has the charm of rare and exquisite conversation; we float in a tide of sensation. He was only aware of her white dress, her pretty arm and hand laid on her soft lap. But while we merely see Kitty, we perceive and think of Gainsborough's portrait of Miss Willoughby. We realise her in other circ.u.mstances, away from the beautiful blue trees under which he has so happily placed her; we can see her receiving visitors on the terrace, or leaning over the bal.u.s.trade looking down the valley, wondering why life has come to her so sadly. We see her in her eighteenth-century drawing-room amid Chippendale and Adams furniture, reading an old novel. No one ever cared much about Miss Willoughby.

There is little sensuous charm in her long narrow face, in her hair falling in ringlets over her shoulders; and we are sure that she often reflected on the bitterness of life. But Kitty never looked into the heart of things: when life coincided with her desires, she laughed and was glad; when things, to use her own words, "went wrong", she wept.

And in these two portraits we read the stories of the painters' souls.

But the question of nationality, of country, in art detains us.

Beautiful beyond compare is the art of Tourguenieff; but how much more intimate, how much deeper is the delight that a Russian finds in his novels than ours! However truly the purely artistic qualities may touch us--great art is universal--we miss our native land and our race in Tourguenieff. We find both in d.i.c.kens, in Thackeray. Miss Austen and Fielding have little else; and vague though Fielding may be in form, still his pages are England, and they whisper the life we inherited from long ago. The superb Rembrandt in the next room, the Gentleman with a Hawk, lent by the Duke of Westminster, is a human revelation. We only perceive in it the charm, the adorableness, the eternal adventure of youth; nationality disappears in the universal.

This beautiful portrait was painted in 1643, a year after the "Night-watch". The date of the portrait of the Lady with the Fan is not given. They differ widely in style; the portrait of the man is ten years in advance of the portrait of the woman; it seems to approach very closely, to touch on, the great style which he attained in 1664, the year when he painted the Syndics. Of his early style, thin, crabbed, and yellow, there is hardly a trace in the portrait of the Man with the Hawk; it is almost a complete emanc.i.p.ation, yet it would be rash to say that the Lady with the Fan is an early work, painted in the days of the Lesson in Anatomy. In Rembrandt's work we find sudden advancements towards the grand final style, and these are immediately followed by hasty returnings to the hard, dry, and essentially unromantic manner of 1634. The portrait of the Young Man with the Hawk was painted in middle life. But if it contains something more than the suggestion of the qualities which twenty years later he developed and perfected for the admiration of all time, if the immortal flower of Rembrandt's genius was still unblown, this is blossom prematurely breaking. The young man is shown upon darkness like a vision: the face is illuminated mysteriously, the brush-work is large and firm, the paint is substantial without being heavy, the canvas is smoky, an unnatural and yet a real atmosphere surrounds the head. The black velvet cap strikes in sharp relief against the background, which lightens to a grey-green about the head. The modelling of the face is extraordinarily large and simple, and yet without omissions; we have in this portrait a perfect example of the art of being precise without being small. The young man is a young n.o.bleman. He stands before us looking at us, and yet his eyes are not fixed; his moustache is golden and frizzled; his cheeks are coloured slightly; but the picture is practically made of a few greys and greens, and white, slightly tinted with bitumen; yet we do not feel, or feel very little, any lack of colouring matter. Rembrandt realised in the romantic young man his ideal of young masculine beauty. Truly a beautiful work, neither the boyhood nor the manhood, but the adolescence of Rembrandt's genius.

Between the portrait of the Lady with a Fan and Sir Joshua's portrait of Miss Frances Crewe it would be permissible to hesitate; but to hesitate even for one instant between Miss Crewe and the Young Man with the Hawk would be unpardonable. Sir Joshua painted as he thought; he had an instinctive sense of decoration and a deep and tender feeling for beauty; he was especially sensible to the agreeable and gay aspect of things; his eyes at once seize the pleasing and picturesque contour, and his mind divined a charming and effective scheme of colour. He saw character too; all the surface characteristics of his model were plain to him, and when he was so minded he painted with rare intelligence and insight. He did not see deeply, but he saw clearly. Gainsborough did not see so clearly, nor was his hand as prompt to express his vision as Sir Joshua's; but Gainsborough saw further, for he felt more keenly and more profoundly.

But light indeed were their minds compared with Rembrandt's. Rembrandt was a great visionary; to him the outsides of things were symbols of elemental truths, which he expressed in a form mighty as the truths themselves. There is no question of comparison between him on one hand and Reynolds and Gainsborough on the other. Yet we should hesitate to destroy our Reynolds and Gainsboroughs, to preserve any works of art, however beautiful. Were we to keep what our reason told us was the greatest, we should feel as one who surrendered England to save the rest of the world, or as a parent who sacrificed his children to save a million men from the scaffold.

s.e.x IN ART.

Woman's nature is more facile and fluent than man's. Women do things more easily than men, but they do not penetrate below the surface, and if they attempt to do so the attempt is but a clumsy masquerade in unbecoming costume. In their own costume they have succeeded as queens, courtesans, and actresses, but in the higher arts, in painting, in music, and literature, their achievements are slight indeed--best when confined to the arrangements of themes invented by men--amiable transpositions suitable to boudoirs and fans.

I have heard that some women hold that the mission of their s.e.x extends beyond the boudoir and the nursery. It is certainly not within my province to discuss so important a question, but I think it is clear that all that is best in woman's art is done within the limits I have mentioned. This conclusion is well-nigh forced upon us when we consider what would mean the withdrawal of all that women have done in art. The world would certainly be the poorer by some half-dozen charming novels, by a few charming poems and sketches in oil and water-colour; but it cannot be maintained, at least not seriously, that if these charming triflings were withdrawn there would remain any gap in the world's art to be filled up. Women have created nothing, they have carried the art of men across their fans charmingly, with exquisite taste, delicacy, and subtlety of feeling, and they have hideously and most mournfully parodied the art of men. George Eliot is one in whom s.e.x seems to have hesitated, and this unfortunate hesitation was afterwards intensified by unhappy circ.u.mstances. She was one of those women who so entirely mistook her vocation as to attempt to think, and really if she had a.s.sumed the dress and the duties of a policeman, her failure could hardly have been more complete. Jane Austen, on the contrary, adventured in no such dismal masquerade; she was a nice maiden lady, gifted with a bright clear intelligence, diversified with the charms of light wit and fancy, and as she was content to be in art what she was in nature, her books live, while those of her ponderous rival are being very rapidly forgotten. "Romola" and "Daniel Deronda" are dead beyond hope of resurrection; "The Mill on the Floss", being more feminine, still lives, even though its destiny is to be forgotten when "Pride and Prejudice" is remembered.

s.e.x is as important an element in a work of art as it is in life; all art that lives is full of s.e.x. There is s.e.x in "Pride and Prejudice"; "Jane Eyre" and "Aurora Leigh" are full of s.e.x; "Romola", "Daniel Deronda", and "Adam Bede" are s.e.xless, and therefore lifeless. There is very little s.e.x in George Sand's works, and they, too, have gone the way of s.e.xless things. When I say that all art that lives is full of s.e.x, I do not mean that the artist must have led a profligate life; I mean, indeed, the very opposite. George Sand's life was notoriously profligate, and her books tell the tale. I mean by s.e.x that concentrated essence of life which the great artist jealously reserves for his art, and through which it pulsates. Sh.e.l.ley deserted his wife, but his thoughts never wandered far from Mary. Dante, according to recent discoveries, led a profligate life, while adoring Beatrice through interminable cantos. So profligacy is clearly not the word I want. I think that gallantry expresses my meaning better.

The great artist and Don Juan are irreparably antagonistic; one cannot contain the other. Notwithstanding all the novels that have been written to prove the contrary, it is certain that woman occupies but a small place in the life of an artist. She is never more than a charm, a relaxation, in his life; and even when he strains her to his bosom, oceans are between them. Profligate, I am afraid, history proves the artist sometimes to have been, but his profligacy is only ephemeral and circ.u.mstantial; what is abiding in him is chast.i.ty of mind, though not always of body; his whole mind is given to his art, and all vague philanderings and sentimental musings are unknown to him; the women he knows and perceives are only food for it, and have no share in his mental life. And it is just because man can raise himself above the sentimental cravings of natural affection that his art is so infinitely higher than woman's art. "Man's love is from man's life a thing apart"--you know the quotation from Byron, "Tis woman's whole existence." The natural affections fill a woman's whole life, and her art is only so much sighing and gossiping about them. Very delightful and charming gossiping it often is--full of a sweetness and tenderness which we could not well spare, but always without force or dignity.