Kenyon Cox

“ Let us clear our minds, then, of the illusion that there is in any important sense such a thing as progress in the fine arts. We may with a clear conscience judge every new work for what it appears in itself to be, asking of it that it be noble and beautiful and reasonable, not that it be novel or progressive. If it be great art it will always be novel enough, for there will be a great mind behind it, and no two great minds are alike. And if it be novel without being great, how shall we be the better off? There are enough forms of mediocre or evil art in the world already. ”

“ Pure sculpture, as the ancients understood it, the art of form per se, demands the nude figure, or a costume which reveals it rather than hides it. The costume of to-day reveals as little of the figure as possible, and, unlike mediæval armor, it has no beauty of its own. A painter may make it interesting by dwelling on color or tone or texture, or may so lose it in shadow that it ceases to count at all except as a space of darkness. ”

“ As sculpture is one of the simplest of the arts, painting is one of the most complicated. The harmonies it constructs are composed of almost innumerable elements of lines and forms and colors and degrees of light and dark, and the science it professes is no less than that of the visible aspect of the whole of nature—a science so vast that it never has been and perhaps never can be mastered in its totality. Anything approaching a complete art of painting can exist only in an advanced stage of civilization. An entirely complete art of painting never has existed and probably never will exist. ”

“ He has produced a series of works which run through the whole range of the art, from lowest relief to highest; from things of which the relief is so infinitesimal that they seem as if dreamed into existence rather than wrought in bronze or marble to things which are virtually engaged statues; from things which you fear a chance touch might brush away, like a pastel of Whistler's, to things as solid and enduring in appearance as in actual material. And in all these things there is the same inevitable mastery of design and of drawing, the same infinite resource and the same technical perfection. ”

“ For all art is an exchange of gain against loss—you cannot have Sargent's truth of impression and Titian's truth of emotion in the same picture, nor Michelangelo's beauty of structure with Botticelli's beauty of line. To be a successful artist is to know what you want and to get it at any necessary sacrifice, though the greatest artists maintain a noble balance and sacrifice no more than is necessary. ”

“ He may or may not be great, but he is certainly incomprehensible and probably a little mad. Until he succeeds the public looks upon the artist as a more or less harmless lunatic. When he succeeds it is willing to exalt him into a kind of god and to worship his eccentricities as a part of his divinity. So we arrive at a belief in the insanity of genius. What would Raphael have thought of such a notion, or that consummate man of the world, Titian? What would the serene and mighty Veronese have thought of it, or the cool, clear-seeing Velazquez? ”

“ In melodic invention it is so far from progressive that its most brilliant masters are often content to elaborate and to decorate a theme old enough to have no history—a theme the inventor of which has been so entirely forgotten that we think of it as sprung not from the mind of one man, but from that of a whole people, and call it a folk-song. The song is almost as old as the race, but the symphony has had to wait for the invention of many instruments and for a mastery of the laws of harmony, and so symphonic music is a modern art. ”

“ If we are so careful of our heritage, it is surely from some doubt of our ability to replace it. When art has been vigorously alive it has been ruthless in its treatment of what has gone before. No cathedral builder thought of reconciling his own work to that of the builder who preceded him; he built in his own way, confident of its superiority. And when the Renaissance builder came, in his turn, he contemptuously dismissed all mediæval art as "Gothic" and barbarous, and was as ready to tear down an old façade as to build a new one. ”

“ At all times there have been somewhere peoples who knew enough of building to mould its utility into forms of beauty, and the history of architecture may be read more continuously than that of any other art. It is a history of constant change and of continuous development, each people and each age forming out of the old elements a new style which should express its mind, and each style reaching its point of greatest distinctiveness only to begin a further transformation into something else; but is it a history of progress? Building, indeed, has progressed at one time or another. ”

“ This power of design rises to higher uses as time goes on, is bent to the interpretation of lofty themes and the expression of deep emotions, but it is in its nature the same power that produced the delicate, ethereal beauty of the reliefs. The infinite fastidiousness of a master designer, constantly reworking and readjusting his design, that every part shall be perfect and that no fold or spray of leafage shall be out of its proper place, never satisfied that his composition is beyond improvement while an experiment remains untried—this is what cost him years of labor. ”

“ 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. ”

“ I have dwelt somewhat at length upon technical matters because technical power is the first necessity for an artist; because technical mastery is that for which he consciously endeavors; because the technical language of his art is the necessary vehicle of expression for his thoughts and emotions, and determines, even, the nature of the thoughts and emotions he shall express. But while the technical accomplishment of an artist is the most necessary part of his art, without which his imagination would be mute, it is not the highest or the most significant part of it. ”

“ We should think of it as gushing forth in full splendor when the world is ready for it, and as unable ever again to rise to the level of its fount.
The art of architecture is later in its beginning than that of poetry, for it can exist only when men have learned to build solidly and permanently. A nomad may be a poet, but he cannot be an architect; a herdsman might have written the Book of Job, but the great builders are dwellers in cities. But since men first learned to build they have never quite forgotten how to do so. ”

“ The portrait-painter, too, is producing something he knows to be wanted, and, though his art has had to fight against the competition of the photograph and has been partially vulgarized by the struggle of the exhibitions, it has yet remained, upon the whole, comprehensible and human; so that much of the soundest art of the past century has gone into portraiture. It is the painters of pictures, landscape or genre, who have most suffered from the misunderstanding between artist and public. Without guidance some of them have hewed a path to deserved success. ”

“ And they are monuments to Americans by an American. Saint-Gaudens had lived through the time of the Civil War, had felt, as a boy, the stir of its great happenings in his blood, and its epic emotions had become a part of his consciousness, deep-seated at the roots of his nature. The feelings of the American people were his feelings, and his representations of these and of other heroes of that great struggle are among the most national as they are among the most vital things that our country has produced in art. ”

“ Here is a new people in the blessed state of having no traditions to shake off and from whom, therefore, some peppery wildness might be expected for the tickling of jaded palates. Behold, they are sturdily setting themselves to recover for art the things the others have thrown away! They are trying to revive the old fashion of thoughtful composition, the old fashion of good drawing, the old fashion of lovely color, and the old fashion of sound and beautiful workmanship.
This conservatism of American painting, however, is not of the kind that still marks so much of the painting of England. ”

“ Upon their experience is founded that legend of the unpopularity of all great artists which has grown to astonishing proportions. Accepting this legend, and believing that all great artists are misunderstood, the artist has come to cherish a scorn of the public for which he works and to pretend a greater scorn than he feels. He cannot believe himself great unless he is misunderstood, and he hugs his unpopularity to himself as a sign of genius and arrives at that sublime affectation which answers praise of his work with an exclamation of dismay: "Is it as bad as that?" ”

“ And so was evolved the salon picture, a thing created for no man's pleasure, not even the artist's; a thing which is neither the decoration of a public building nor the possible ornament of a private house; a thing which, after it has served its temporary purpose, is rolled up and stored in a loft or placed in a gallery where its essential emptiness becomes more and more evident as time goes on. Such government-encouraged art had at least the merit of a well-sustained and fairly high level of accomplishment in the more obvious elements of painting. ”

“ Yet I believe, as we make this study of his works, as we yield ourselves to the graciousness of his charm or are exalted by the sweep of his imagination, we shall come to feel an assured conviction that Augustus Saint-Gaudens was not merely the most accomplished artist of America, not merely one of the foremost sculptors of his time—we shall feel that he is one of those great, creative minds, transcending time and place, not of America or of to-day, but of the world and forever. ”

“ And the first and most essential thing to note about the art of Augustus Saint-Gaudens is that it is always art of the purest—free in an extraordinary degree from the besetting sins of naturalism and the scientific temper on the one hand and of the display of cleverness and technical brilliancy on the other. Never more than in our own day have these been the great temptations of an able artist: that he should in the absorption of study forget the end in the means and produce demonstrations of anatomy or of the laws of light rather than statues or pictures ”

“ David, some sixteen years his junior, is the first of the moderns. Now if we look for the most fundamental distinction between our modern art and the art of past times, I believe we shall find it to be this: the art of the past was produced for a public that wanted it and understood it, by artists who understood and sympathized with their public; the art of our time has been, for the most part, produced for a public that did not want it and misunderstood it, by artists who disliked and despised the public for which they worked. ”

“ It was a kind of improvisation, done at prodigious speed and without study from nature—a sketch rather than a completed work of art, but a sketch to be slowly developed into the reliefs of the Farragut pedestal, the angels of the Morgan tomb, the caryatids of the Vanderbilt mantelpiece, and, at length, into such a masterpiece as the "Amor-Caritas." In each of these developments the work becomes less picturesque and more formal, the taste is purified, the exuberance of decorative feeling is more restrained. ”

“ If any painter of the immediate past is definitively numbered with the great masters, it is he. Yet the popular admiration for his art is based on a I misapprehension almost as profound as that of those contemporaries who decried and opposed him. They thought him violent, rude, ill-educated, a "man of the woods," a revolutionist, almost a communist. We are apt to think of him as a gentle sentimentalist, a soul full of compassion for the hard lot of the poor, a man whose art achieves greatness by sheer feeling rather than by knowledge and intellect. ”