Roger Fry

“ When he first comes to the sheepfold, he gazes with such set melancholy on the ground that the greeting of his dog and his shepherds cannot arouse his attention; when he makes a sacrifice he crawls on hands and knees in the suspense of expectation, watching for a sign from heaven; even in his sleep we guess at his melancholy dreams; and in the scene where he meets his wife at the Golden Gate on his return, Giotto has touched a chord of feeling at least as profound as can be reached by the most consummate master of the art of words. ”

“ RENOIR WHAT a lover of the commonplace Renoir was! It is a rare quality among artists. A theoretically pure artist exists no more than a Euclidean point, but if such a being could exist, every possible actual sight would be equally suitable as a point of departure for his artistic vision. Everything would stir in him the impulse to creation. He would have no predilections, no tastes for this or that kind of thing. In practice every artist is set going by some particular kind of scene in nature, and for the most part artists have to search out some unusual or unexplored aspect of things. ”

“ It is impossible for art to convey more intensely than this the beauty of such a movement of impetuous yearning. The action of the Christ is as vividly realised; almost too obviously, indeed, does he seem to be edging out of the composition in order to escape the Magdalene’s outstretched hands. This is a striking instance of that power which Giotto possessed more than any other Italian, more indeed than any other artist except Rembrandt, the power of making perceptible the flash of mutual recognition which passes between two souls at a moment of sudden illumination. ”

“ Indeed, the tradition that all public British art shall be crassly mediocre and inexpressive is so firmly rooted that it seems to have almost the prestige of constitutional precedent. Nor will any one who has watched a committee commissioning a presentation portrait, or even buying an old master, be in danger of taking too optimistic a view. With rare and shining exceptions, committees seem to be at the mercy of the lowest common denominator of their individual natures, which is dominated by fear of criticism; and fear and its attendant, compromise, are bad masters of the arts. ”

“ As the age-long traditions of craftsmanship and structural design, which had lingered on from the Middle Ages, finally faded out under the impact of the new industrialism, the amateur stepped in, his brain teeming with fancies. Craftsmanship was dead, the craftsman replaced either by the machine or by a purely servile and mechanical human being, a man without tradition, without ideas of his own, who was ready to accomplish whatever caprices the amateur or the artist might set him to. ”

“ Nowhere is a violent form softened, nowhere is the expressive quality of brushwork blurred in order to give verisimilitude of texture; no harshness of accent is shirked, no crudity of colour opposition avoided, wherever El Greco felt such things to be necessary to the realisation of his idea. It is this magnificent courage and purity, this total indifference to the expectations of the public, that bring him so near to us to-day, when more than ever the artist regards himself as working for ends unguessed at by the mass of his contemporaries. ”

“ No doubt he accepted more material directly from nature than Uccello did. He was beginning to explore the principles of atmospheric perspective which were destined ultimately to break up the unity of pictorial design, but everything that he takes is used with the same spirit of obedience to the laws of architectonic harmony. The spacing of this design, the relations of volume of the upright mass of the Virgin’s figure to the spaces of sky and landscape have the unmistakable interdependence of great design. Only a great creative artist could have discovered so definite a relationship. ”

“ I suggest that in looking at drawings our sense of pictorial unity is largely of this nature; we feel, if the drawing be a good one, that each modulation of the line as our eye passes along it gives order and variety to our sensations. Such a drawing may be almost entirely lacking in the geometrical balance which we are accustomed to demand in paintings, and yet have, in a remarkable degree, unity.
Let us now see how the artist passes from the stage of merely gratifying our demand for sensuous order and variety to that where he arouses our emotions. ”

“ WHAT a comfortable mental furniture the generalisations of a century ago must have afforded! What a right little, tight little, round little world it was when Greece was the only source of culture, when Greek art, even in Roman copies, was the only indisputable art, except for some Renaissance repetitions! Philosophy, the love of truth, liberty, architecture, poetry, drama, and for all we knew music—all these were the fruits of a special kind of life, each assisted the development of the other, each was really dependent on all the rest. ”

“ Now this specialisation of vision goes so far that ordinary people have almost no idea of what things really look like, so that oddly enough the one standard that popular criticism applies to painting, namely, whether it is like nature or not, is one which most people are, by the whole tenour of their lives, prevented from applying properly. The only things they have ever really looked at being other pictures; the moment an artist who has looked at nature brings to them a clear report of something definitely seen by him, they are wildly indignant at its untruth to nature. ”

“ In one very important detail Cézanne was spared by life—he always had enough to live on. The thought of a Cézanne having to earn his living is altogether too tragic. But if life spared him in this respect his temperament spared him nothing—for this rough Provençal countryman had so exasperated a sensibility that the smallest detail of daily life, the barking of a dog, the noise of a lift in a neighbouring house, the dread of being touched even by his own son might produce at any moment a nervous explosion. ”

“ Nuremberg of the fifteenth century was certainly given over to the practice of fine art with a pathetic enthusiasm, and it remains as a sad but instructive proof of how little good-will and industry avail by themselves in such matters. The worship of mere professional skill and undirected craftsmanship is there seen pushed to its last conclusions, and the tourist’s wonder is prompted by the sight of stone carved into the shapes of twisted metal, and wood simulating the intricacies of confectionery, his admiration is canvassed by every possible perversion of technical dexterity. ”

“ He replied, “Show me a Rodin with the patine of the fifteenth century, and I will buy it.”
Patine, then, the adventitious material beauty which age alone can give, has come to be the object of a reverence greater than that devoted to the idea which is enshrined within the work of art. People are right to admire patine. Nothing is more beautiful than gilded bronze of which time has taken toll until it is nothing but a faded shimmering splendour over depths of inscrutable gloom ”

“ The great mass of modern men could rub along happily enough without works of art or at least without new ones, but society would be sensibly more bored if the artist died out altogether. The fact is that every honest bourgeois, however sedate and correct his life, keeps a hidden and scarce-admitted yearning for that other life of complete individualism which hard necessity or the desire for success has denied him. In contemplating the artist he tastes vicariously these forbidden joys. ”

“ Such, then, is the nature of the æsthetic vision, the vision with which we contemplate works of art. It is to such a vision, if to anything outside himself, that the artist appeals, and the artist in his spare hours may himself indulge in the æsthetic vision; and if one can get him to do so, his verdict is likely to be as good as any one’s.
The artist’s main business in life, however, is carried on by means of yet a fourth kind of vision, which I will call the creative vision. This, I think, is the furthest perversion of the gifts of nature of which man is guilty. ”

“ For whereas in the life of the Middle Ages the change was one of reaction—the sharp repression by the reactionary forces of a gradual growth of freedom—the change in art is merely the efflorescence of certain long prepared and anticipated effects. The forms of Gothic architecture were merely the answer to certain engineering problems which had long occupied the inventive ingenuity of twelfth-century architects, while in the figurative arts the change merely showed a new self-confidence in the rendering of the human figure, a newly developed mastery in the handling of material. ”

“ And the legend created by Vasari has stuck. Uccello has always seemed to be a little aside from the main road of art, an agreeable, amusing diversion, one that we can enjoy with a certain humorous and patronising detachment, as we enjoy the innocence of some mediæval chronicler. Uccello, I admit, has lent himself to this misunderstanding because from every other point of view but that of pure design he comes up to the character Vasari has made current. No artist was ever so helpless as he at the dramatic presentment of his theme. ”

“ El Greco, on the other hand, had the good fortune to be almost entirely out of touch with the public—one picture painted for the king was sufficient to put him out of court for the rest of his life. And in any case he was a singularly pure artist, he expressed his idea with perfect sincerity, with complete indifference to what effect the right expression might have on the public. At no point is there the slightest compromise with the world; the only issue for him is between him and his idea. ”

“ On the other hand, we know of works of art in which the unity and complexity of the texture strike us far less than the inevitable and significant relationship of the main divisions of the design—pictures in which we should say that the composition was the most striking beauty. It is when the composition of a picture, adequately supported as it must be by significance of texture, reveals to us the most surprising and yet inevitable relationships that we get most strongly the final unity-emotion of a work of art. ”

“ The impression one gets from looking through a collection of Claude’s drawings like that at the British Museum is of a man without any keen feeling for objects in themselves, but singularly open to impressions of general effects in nature, watching always for the shifting patterns of foliage and sky to arrange themselves in some beautifully significant pattern and choosing it with fine and critical taste. ”

“ We don’t stop to consider much how far the pictured past corresponds to any reality, certainly not to consider what proportion of the whole reality of the past life gets itself embalmed in this way in works of art. Thus we picture our Middle Ages as almost entirely occupied with religion and war, our Renaissance as occupied in learning, and our eighteenth century as occupied in gallantry and wit. ”

“ He has, indeed, all the stigmata of the religious artist—the love of pure decoration, the patient elaboration and enrichment of surface, the predilection for flat tones and precision of contour, the want of the sense of mass and relief, the extravagant richness of invention. It is as the Fra Angelico of Satanism that his work will always have an interest for those who are curious about this recurrent phase of complex civilisations. But if we are right in our analysis of his work, the finest qualities of design can never be appropriated to the expression of such morbid and perverted ideals ”

“ Now, in thus putting forward the extreme difficulties of any system of publicly controlled art, we are emphasising perhaps too much the idea of the artist as a creator of purely ideal and abstract works, as the medium of inspiration and the source of revelation. It is the artist as prophet and priest that we have been considering, the artist who is the articulate soul of mankind. ”

“ When the critic holds the result of his reaction to a work of art clearly in view he has next to translate it into words. Here, too, distortion is inevitable, and it is here that I have probably failed most of accuracy, for language in the hands of one who lacks the mastery of a poet has its own tricks, its perversities and habits. There are things which it shies at and goes round, there are places where it runs away and, leaving the reality which it professes to carry tumbled out at the tail of the cart, arrives in a great pother, but without the goods. ”

“ For it shows us the master at the height of his powers, at last perfectly aware of his personal conception and daring to give it the completest, most uncompromising expression. That the picture is in a marvellous state of preservation and has been admirably cleaned adds greatly to its value. Dirty yellow varnish no longer interposes here its hallowing influence between the spectator and the artist’s original creation. Since the eye can follow every stroke of the brush, the mind can recover the artist’s gesture and almost the movements of his mind. ”

“ It became clear that we had confused two distinct uses of the word beautiful, that when we used beauty to describe a favourable æsthetic judgment on a work of art we meant something quite different from our praise of a woman, a sunset or a horse as beautiful. Tolstoy saw that the essence of art was that it was a means of communication between human beings. He conceived it to be par excellence the language of emotion. It was at this point that his moral bias led him to the strange conclusion that the value of a work of art corresponded to the moral value of the emotion expressed. ”

“ This is the last subtlety of painting; for to paint the main body and centres of objects is indeed something of an achievement, but one in which many have been famous, but to paint the edges of bodies and express the disappearing planes is rare in the history of art. For the contour must go round itself and so end that it promises other things behind and shows that which it hides. ”