The uncompromising artist: Sincerity versus stability in the creative life

“ Truth in a work of art is sincerity. That a man says what he really means--shows us what he really thinks to be beautiful--is all that reason bids us ask for. No science or painstaking can make up for his not doing this. No lack of skill or observation can entirely frustrate his communicating his intention to kindred natures if he is utterly sincere. ”

“ There is, I think, no more nutritive or suggestive truth in this connexion than that of the perfect dependence of the “moral” sense of a work of art on the amount of felt life concerned in producing it. The question comes back thus, obviously, to the kind and the degree of the artist’s prime sensibility, which is the soil out of which his subject springs. ”

“ The first and greatest benefit of government is that it keeps the peace, that it insures every man his right, and not only that, but the permanence of it. In order to this, its first requisite is stability; and this once firmly settled, the greater the extent of conterminous territory that can be subjected to one system and one language and inspired by one patriotism, the better. That there should be some diversity of interests is perhaps an advantage, since the necessity of legislating equitably for all gives legislation its needful safeguards of caution and largeness of view. ”

“ What happens if stability fails to assert itself in the face of chaos and instability? If decency fails to call out indecency? Were the shoe on the other foot, would we Republicans meekly accept such behavior on display from dominant Democrats? Of course not, and we would be wrong if we did.
When we remain silent and fail to act when we know that that silence and inaction is the wrong thing to do — because of political considerations, because we might make enemies, because we might alienate the base, because we might provoke a primary challenge, because ad infinitum, ad nauseam — when we succumb to those considerations in spite of what should be greater considerations and imperatives in defense of the institutions of our liberty, then we dishonor our principles and forsake our obligations. ”

“ If, that is to say, the give-and-take conditions between artistic supply and social demand have become vitiated, if the conditions of the market, or of society, are unfavourable to the reception of products of true worth, then the artist must to some extent be an active party in the struggle for getting things set right. ”

“ But the man, or woman, who embarks whole-heartedly on Art-training must in the end find himself involved in a struggle for the recovery of those true social values which have been lost (or the acquisition of those which are as yet unrealised) and for the substitution, among other things, of true for false economics. He cannot afford to live a life of aloof specialisation, when the conditions out of which he derives and into which he is throwing his work are of a complementarily disturbing kind. ”

“ We may add—as indicating the connexion of art with morality—that [pg 205] the work of art must not be such as to excite disapproval or cause pain by shocking any normal faculty, or running counter to any fundamental belief, sympathy, sentiment or feeling, of the human mind. ”

“ For surely art ought to be based on truth: the artist should understand human nature, to which his work appeals: he should not regard as truly beautiful a work the contemplation of which will produce a discord in the soul, which will disturb the right order of the soul's activities, which will solicit the lower faculties to revolt against the higher ”

“ In the first chapter of this work I said that the standard in works of art is not truth but sincerity; that if the artist tells us what he feels to be beautiful, it does not matter how much or how little comparison it will bear with the actual objects represented. And from this fact, that sincerity not truth is of prime importance in matters of expression, results the strange truth that Dürer says will be recognised by powerful artists alone (see page 227) . ”

“ The practical reformer has continually to demand that changes be made in things which are supported by powerful and widely-spread feelings, or to question the apparent necessity and indefeasibleness of established facts; and it is often an indispensable part of his argument to show, how those powerful feelings had their origin, and how those facts came to seem necessary and indefeasible. ”

“ In this bourgeois world the artist may be feeble of mind, not knowing the reality of his time, believing sincerely in its shams. Or he may be a cynic, jeering at his time, but taking what he can get. Or he may be a rebel, speaking the truth—in which case he will starve in a garret, or go insane, or be thrown into prison, or driven into exile. ”

“ And how often does an artist—an artist worthy of the name, a writer who knows the terrible, magnificent power of the written word—feel himself weighed down by anguish as he writes the truth! [20] This truth, sane and virile, necessary in the midst of modern lies, this vital truth seems to him as the air we breathe... But then we perceive that this air is more than the lungs of many can bear. It is too strong for the many beings enfeebled by civilisation; too strong for those who are weak simply in the kindness of their hearts. ”

“ Sincerity is impossible, unless it pervade the whole being, and the pretence of it saps the very foundation of character. ”

“ In the painting the mermaid may have her tail and the sculptured child may have his angel wings and fairies may appear on the stage. In short, every demand which is made by the purpose of true art removes us from reality and is contrary to the superficial claim that art ought to rest on skillful imitation. The true victory of art lies in the overcoming of the real appearance and every art is genuine which fulfills this esthetic desire for history or for nature, in its own way. ”

“ But if the esthetic value is independent of the imitative approach to reality and independent of the elimination of unpleasant elements or of the collection and addition of pleasant traits, what does the artist really select and combine in his creation? How does he shape the world? How does nature look when it has been remolded by the artistic temperament and imagination? What is left of the real landscape when the engraver's needle has sketched it? What is left of the tragic events in real life when the lyric poet has reshaped them in a few rhymed stanzas? ”

“ If every desire which it stimulates is completely fulfilled by its own parts, that is, if it is a complete harmony, we, the spectators, the listeners, the readers, are perfectly satisfied, and this complete satisfaction is the characteristic esthetic joy. The first demand which is involved in this characterization of art is that the offering of the artist shall really awaken interests, as only a constant stirring up of desires together with their constant fulfillment keeps the flame of esthetic enjoyment alive. ”

“ We need not only the complete separation from reality by the changed forms of experience, but we must demand also that this unreal thing or event shall be complete in itself. The artist, therefore, must do whatever is needed to satisfy the demands which any part awakens. If one line in the painting suggests a certain mood and movement, the other lines must take it up and the colors must sympathize with it and they all must agree with the pictured content. The tension which one scene in the drama awakens must be relieved by another. Nothing must remain unexplained and nothing unfinished. ”

“ A work of art arises primarily out of the emotions, and not out of the intellect, and is sound and true to the extent to which it repeats the method of nature. Buskin, whom Mr. Gladden quotes, was of course right when he said that the art of a nation is an exponent of its ethical state. But the condition of first importance with the artist is, not that he should have an ethical purpose, but that he should be ethically sound. He may work with ethical ideas, but not directly for them. The preacher speaks for them; the poet speaks out of them,—he plays with them, he takes his will of them ”

“ Under the specious plea that science in seeking truth is neither positively moral nor positively immoral, but abstracts altogether from the quality of morality, it is sometimes claimed that, a pari, art in its pursuit of the beautiful should be held to abstract from moral distinctions and have no concern for moral good or evil. ”

“ But the formula is also commonly understood to claim the emancipation of the artist from the bonds of morality, and his freedom to conceive and express beauty in whatever forms he pleases, whether these may aid men to virtue or solicit them to vice. ”

“ Our moral teachers and preachers often fail to see that the first condition of a work of pure art is that it be disinterested, that it be a total and complete product in and of itself; and that it is its own excuse for being. Its business is to represent, to portray, or, as Aristotle has it, to imitate nature, and not to preach or to moralize. Our ethical and religious writers and speakers are apt to call this artistic disinterestedness indifferentism. ”

“ Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. ”

“ So I write on every subject, and the public hounds me on all sides, sometimes in anger, and I race and dodge like a fox with a pack of hounds on his trail. I see life and knowledge flitting away before me. ”

“ As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. ”

“ We have a right to reject with pity or with scorn the stammerings of incompetence, the babble of lunacy, or the vaporing of imposture. But mutual understanding implies a duty on the part of the public as well as on the part of the artist, and we must give as well as take. We must be at the pains to learn something of the language of art in which we bid the artist speak. If we would have beauty from him we must sympathize with his aspiration for beauty. Above all, if we would have him interpret for us our ideals we must have ideals worthy of such interpretation. ”

“ It is so in art, and these artistic anarchists are found proclaiming that the public will never understand or accept their art while anything remains of the art of the past, and demanding that therefore the art of the past shall be destroyed. ”

“ So right are the practitioners of this puerile art in their proclaimed belief that the public will never accept it while anything else exists, that one might be willing to treat it with the silent contempt it deserves were it not for the efforts of certain critics and writers for the press to convince us that it ought to be accepted. Some of these men seem to be intimidated by the blunders of the past. Knowing that contemporary criticism has damned almost every true artist of the nineteenth century, they are determined not to be caught napping ”

“ The architect, working on a percentage basis, may find his pecuniary advantage at vari- ance with his professional duty to secure the best service for the least cost. Likewise, opposition may arise between the economic and the cultural interest. The teacher and the preacher may suffer loss from a wholehearted devotion to the spirit of truth as they conceive it. The artist, the play- wright, the author, may have to choose between the ideals of their art and the more lucrative devices of popularity. Finally, the technical and the cultural interest may work apart. ”

“ The critics are certain that the decision is purely a question of aesthetics; and we answer that it is purely a question of class prestige. They are certain that art standards are eternal; and we answer that they are blown about by the winds of politics. Social classes struggle; some lose, and their glory fades, their arts decay; others win, and set new standards, according to their interests. The only permanent factors are the permanent needs of humanity, for justice, brotherhood, wisdom ”

“ Governments, feeling a responsibility for the cultivation of art which was quite unnecessary in the days when art was spontaneously produced in answer to a natural demand, have tried to put an artificial support in its place. That the artist may show his wares and make himself known, they have created exhibitions ”

“ The industry relies, therefore, for its existence and for its profits not upon a private demand, but upon a Government demand, and the extent of that Government demand will depend upon the view which the Government may take of the number and nature of these articles required to ensure the national safety. Such a condition of affairs is a permanent and terrible danger both to democratic government and to international peace. ”

“ The critics will leap to Ogi’s support, hailing him as the Lord’s own anointed, a creator of masterpieces, dignified, serene, secure in immortality. This is art, the critics will aver, this is real, genuine, authentic art; while out there in the wilderness somewhere howls a lone gray rebellious wolf, attacking and seeking to devour everything that is beautiful and sacred in life—and the howling of this wolf is not art, it is vile and cheap propaganda. ”

“ Manifestly, in a settled empire the ruler will be of smaller stature than his fighting men, because he will be coddled in childhood; but the smaller he becomes in reality, the more rigid the art convention that he is big.
It was for offenses such as this that Plato drove the artists out of his Republic. They were liars and pretenders, the whole tribe, and destroyed men’s respect for truth. But as a matter of fact, this kind of idealizing of rulers and fighting men may be entirely sincere. The artist is more sensitive than his fellowmen—that is what makes him an artist ”

“ I have been walking and walking, and thinking and thinking, ever since I have been here, and I feel the strength of my spirit growing in me every day. I know now, I understand at last, Constantine, that for us, whether we write or act, it is not the honour and glory of which I have dreamt that is important, it is the strength to endure. One must know how to bear one's cross, and one must have faith. ”

“ The artist who is too sensitive for contacts with the non-artistic world is thereby too sensitive for his vocation, and fit only to fall into gentle ecstasies over the work of artists less sensitive than himself. ”

“ Now I am going to put before you some quite homely instances, because I think they will stick best in your memories, in order to show you that the real struggle of the artist to-day is not so much to secure appreciation of beauty in line and texture, as honesty of construction, and real adaptation of form to utility and of production to lastingness. I have been noticing, with quite simple objects of domestic use, that the trade-purpose toward them seems almost the opposite. ”

“ But, in the present age, which prides itself on its inhuman system of specialisation as a means to economy, such a man is rather a rare phenomenon; for it is about as difficult to get out of present conditions a true appreciation of life values—a true Art-training—as it is to get a true artist. Where your national conditions shut down the critical faculties, and make their exercise difficult, there too, your creative artistic faculties are being shut down and made difficult also. They are far more interdependent than your average Art-teacher or Art-student is generally willing to admit. ”

“ His word is more inevitable, more the word of fate, but is it not therefore less the word of art? Be sincere, be sincere; be not too sincere, lest you substitute a moral rigidity for the flexibility demanded by art. The artist is never the slave of his sincerity. ”

“ But, accurately speaking, no good work whatever can be perfect, and the demand for perfection is always a sign of a misunderstanding of the ends of art. ”

“ but the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth. ”