Essays and Lectures Part 9

Of course it is difficult, but then art was never easy; you yourselves would not wish it to be easy; and, besides, nothing is worth doing except what the world says is impossible.

Still, you do not care to be answered merely by a paradox. What are the relations of the artist to the external world, and what is the result of the loss of beautiful surroundings to you, is one of the most important questions of modern art; and there is no point on which Mr. Ruskin so insists as that the decadence of art has come from the decadence of beautiful things; and that when the artist cannot feed his eye on beauty, beauty goes from his work.

I remember in one of his lectures, after describing the sordid aspect of a great English city, he draws for us a picture of what were the artistic surroundings long ago.

Think, he says, in words of perfect and picturesque imagery, whose beauty I can but feebly echo, think of what was the scene which presented itself, in his afternoon walk, to a designer of the Gothic school of Pisa-Nino Pisano or any of his men: {206}

On each side of a bright river he saw rise a line of brighter palaces, arched and pillared, and inlaid with deep red porphyry, and with serpentine; along the quays before their gates were riding troops of knights, n.o.ble in face and form, dazzling in crest and s.h.i.+eld; horse and man one labyrinth of quaint colour and gleaming light-the purple, and silver, and scarlet fringes flowing over the strong limbs and clas.h.i.+ng mall, like sea-waves over rocks at sunset.

Opening on each side from the river were gardens, courts, and cloisters; long successions of white pillars among wreaths of vine; leaping of fountains through buds of pomegranate and orange: and still along the garden-paths, and under and through the crimson of the pomegranate shadows, moving slowly, groups of the fairest women that Italy ever saw-fairest, because purest and thoughtfullest; trained in all high knowledge, as in all courteous art-in dance, in song, in sweet wit, in lofty learning, in loftier courage, in loftiest love-able alike to cheer, to enchant, or save, the souls of men. Above all this scenery of perfect human life, rose dome and bell-tower, burning with white alabaster and gold: beyond dome and bell-tower the slopes of mighty hills h.o.a.ry with olive; far in the north, above a purple sea of peaks of solemn Apennine, the clear, sharp-cloven Carrara mountains sent up their steadfast flames of marble summit into amber sky; the great sea itself, scorching with expanse of light, stretching from their feet to the Gorgonian isles; and over all these, ever present, near or far-seen through the leaves of vine, or imaged with all its march of clouds in the Arno's stream, or set with its depth of blue close against the golden hair and burning cheek of lady and knight,-that untroubled and sacred sky, which was to all men, in those days of innocent faith, indeed the unquestioned abode of spirits, as the earth was of men; and which opened straight through its gates of cloud and veils of dew into the awfulness of the eternal world;-a heaven in which every cloud that pa.s.sed was literally the chariot of an angel, and every ray of its Evening and Morning streamed from the throne of G.o.d.

What think you of that for a school of design?

And then look at the depressing, monotonous appearance of any modern city, the sombre dress of men and women, the meaningless and barren architecture, the colourless and dreadful surroundings. Without a beautiful national life, not sculpture merely, but all the arts will die.

Well, as regards the religious feeling of the close of the pa.s.sage, I do not think I need speak about that. Religion springs from religious feeling, art from artistic feeling: you never get one from the other; unless you have the right root you will not get the right flower; and, if a man sees in a cloud the chariot of an angel, he will probably paint it very unlike a cloud.

But, as regards the general idea of the early part of that lovely bit of prose, is it really true that beautiful surroundings are necessary for the artist? I think not; I am sure not. Indeed, to me the most inartistic thing in this age of ours is not the indifference of the public to beautiful things, but the indifference of the artist to the things that are called ugly. For, to the real artist, nothing is beautiful or ugly in itself at all. With the facts of the object he has nothing to do, but with its appearance only, and appearance is a matter of light and shade, of ma.s.ses, of position, and of value.

Appearance is, in fact, a matter of effect merely, and it is with the effects of nature that you have to deal, not with the real condition of the object. What you, as painters, have to paint is not things as they are but things as they seem to be, not things as they are but things as they are not.

No object is so ugly that, under certain conditions of light and shade, or proximity to other things, it will not look beautiful; no object is so beautiful that, under certain conditions, it will not look ugly. I believe that in every twenty-four hours what is beautiful looks ugly, and what is ugly looks beautiful, once.

And, the commonplace character of so much of our English painting seems to me due to the fact that so many of our young artists look merely at what we may call 'ready-made beauty,' whereas you exist as artists not to copy beauty but to create it in your art, to wait and watch for it in nature.

What would you say of a dramatist who would take n.o.body but virtuous people as characters in his play? Would you not say he was missing half of life? Well, of the young artist who paints nothing but beautiful things, I say he misses one half of the world.

Do not wait for life to be picturesque, but try and see life under picturesque conditions. These conditions you can create for yourself in your studio, for they are merely conditions of light. In nature, you must wait for them, watch for them, choose them; and, if you wait and watch, come they will.

In Gower Street at night you may see a letter-box that is picturesque: on the Thames Embankment you may see picturesque policemen. Even Venice is not always beautiful, nor France.

To paint what you see is a good rule in art, but to see what is worth painting is better. See life under pictorial conditions. It is better to live in a city of changeable weather than in a city of lovely surroundings.

Now, having seen what makes the artist, and what the artist makes, who is the artist? There is a man living amongst us who unites in himself all the qualities of the n.o.blest art, whose work is a joy for all time, who is, himself, a master of all time. That man is Mr. Whistler.

But, you will say, modern dress, that is bad. If you cannot paint black cloth you could not have painted silken doublet. Ugly dress is better for art-facts of vision, not of the object.

What is a picture? Primarily, a picture is a beautifully coloured surface, merely, with no more spiritual message or meaning for you than an exquisite fragment of Venetian gla.s.s or a blue tile from the wall of Damascus. It is, primarily, a purely decorative thing, a delight to look at.

All archaeological pictures that make you say 'How curious!' all sentimental pictures that make you say, 'How sad!' all historical pictures that make you say 'How interesting!' all pictures that do not immediately give you such artistic joy as to make you say 'How beautiful!' are bad pictures.

We never know what an artist is going to do. Of course not. The artist is not a specialist. All such divisions as animal painters, landscape painters, painters of Scotch cattle in an English mist, painters of English cattle in a Scotch mist, racehorse painters, bull-terrier painters, all are shallow. If a man is an artist he can paint everything.

The object of art is to stir the most divine and remote of the chords which make music in our soul; and colour is indeed, of itself a mystical presence on things, and tone a kind of sentinel.

Am I pleading, then, for mere technique? No. As long as there are any signs of technique at all, the picture is unfinished. What is finish? A picture is finished when all traces of work, and of the means employed to bring about the result, have disappeared.

In the case of handicraftsmen-the weaver, the potter, the smith-on their work are the traces of their hand. But it is not so with the painter; it is not so with the artist.

Art should have no sentiment about it but its beauty, no technique except what you cannot observe. One should be able to say of a picture not that it is 'well painted,' but that it is 'not painted.'

What is the difference between absolutely decorative art and a painting?

Decorative art emphasises its material: imaginative art annihilates it.

Tapestry shows its threads as part of its beauty: a picture annihilates its canvas: it shows nothing of it. Porcelain emphasises its glaze: water-colours reject the paper.

A picture has no meaning but its beauty, no message but its joy. That is the first truth about art that you must never lose sight of. A picture is a purely decorative thing.

LONDON MODELS

_English Ill.u.s.trated Magazine_, January 1889.

PROFESSIONAL models are a purely modern invention. To the Greeks, for instance, they were quite unknown. Mr. Mahaffy, it is true, tells us that Pericles used to present peac.o.c.ks to the great ladies of Athenian society in order to induce them to sit to his friend Phidias, and we know that Polygnotus introduced into his picture of the Trojan women the face of Elpinice, the celebrated sister of the great Conservative leader of the day, but these _grandes dames_ clearly do not come under our category. As for the old masters, they undoubtedly made constant studies from their pupils and apprentices, and even their religious pictures are full of the portraits of their friends and relations, but they do not seem to have had the inestimable advantage of the existence of a cla.s.s of people whose sole profession is to pose. In fact the model, in our sense of the word, is the direct creation of Academic Schools.

Every country now has its own models, except America. In New York, and even in Boston, a good model is so great a rarity that most of the artists are reduced to painting Niagara and millionaires. In Europe, however, it is different. Here we have plenty of models, and of every nationality. The Italian models are the best. The natural grace of their att.i.tudes, as well as the wonderful picturesqueness of their colouring, makes them facile-often too facile-subjects for the painter's brush. The French models, though not so beautiful as the Italian, possess a quickness of intellectual sympathy, a capacity, in fact, of understanding the artist, which is quite remarkable. They have also a great command over the varieties of facial expression, are peculiarly dramatic, and can chatter the _argot_ of the _atelier_ as cleverly as the critic of the _Gil Blas_. The English models form a cla.s.s entirely by themselves. They are not so picturesque as the Italian, nor so clever as the French, and they have absolutely no tradition, so to speak, of their order. Now and then some old veteran knocks at the studio door, and proposes to sit as Ajax defying the lightning, or as King Lear upon the blasted heath. One of them some time ago called on a popular painter who, happening at the moment to require his services, engaged him, and told him to begin by kneeling down in the att.i.tude of prayer. 'Shall I be Biblical or Shakespearean, sir?' asked the veteran.

'Well-Shakespearean,' answered the artist, wondering by what subtle _nuance_ of expression the model would convey the difference. 'All right, sir,' said the professor of posing, and he solemnly knelt down and began to wink with his left eye! This cla.s.s, however, is dying out. As a rule the model, nowadays, is a pretty girl, from about twelve to twenty-five years of age, who knows nothing about art, cares less, and is merely anxious to earn seven or eight s.h.i.+llings a day without much trouble. English models rarely look at a picture, and never venture on any aesthetic theories. In fact, they realise very completely Mr.

Whistler's idea of the function of an art critic, for they pa.s.s no criticisms at all. They accept all schools of art with the grand catholicity of the auctioneer, and sit to a fantastic young impressionist as readily as to a learned and laborious academician. They are neither for the Whistlerites nor against them; the quarrel between the school of facts and the school of effects touches them not; idealistic and naturalistic are words that convey no meaning to their ears; they merely desire that the studio shall be warm, and the lunch hot, for all charming artists give their models lunch.

As to what they are asked to do they are equally indifferent. On Monday they will don the rags of a beggar-girl for Mr. Pumper, whose pathetic pictures of modern life draw such tears from the public, and on Tuesday they will pose in a peplum for Mr. Phoebus, who thinks that all really artistic subjects are necessarily B.C. They career gaily through all centuries and through all costumes, and, like actors, are interesting only when they are not themselves. They are extremely good-natured, and very accommodating. 'What do you sit for?' said a young artist to a model who had sent him in her card (all models, by the way, have cards and a small black bag). 'Oh, for anything you like, sir,' said the girl, 'landscape if necessary!'

Intellectually, it must be acknowledged, they are Philistines, but physically they are perfect-at least some are. Though none of them can talk Greek, many can look Greek, which to a nineteenth-century painter is naturally of great importance. If they are allowed, they chatter a great deal, but they never say anything. Their observations are the only _ba.n.a.lites_ heard in Bohemia. However, though they cannot appreciate the artist as artist, they are quite ready to appreciate the artist as a man.

They are very sensitive to kindness, respect and generosity. A beautiful model who had sat for two years to one of our most distinguished English painters, got engaged to a street vendor of penny ices.

On her marriage the painter sent her a pretty wedding present, and received in return a nice letter of thanks with the following remarkable postscript: 'Never eat the green ices!'

When they are tired a wise artist gives them a rest. Then they sit in a chair and read penny dreadfuls, till they are roused from the tragedy of literature to take their place again in the tragedy of art. A few of them smoke cigarettes. This, however, is regarded by the other models as showing a want of seriousness, and is not generally approved of. They are engaged by the day and by the half-day. The tariff is a s.h.i.+lling an hour, to which great artists usually add an omnibus fare. The two best things about them are their extraordinary prettiness, and their extreme respectability. As a cla.s.s they are very well behaved, particularly those who sit for the figure, a fact which is curious or natural according to the view one takes of human nature. They usually marry well, and sometimes they marry the artist. For an artist to marry his model is as fatal as for a _gourmet_ to marry his cook: the one gets no sittings, and the other gets no dinners.

On the whole the English female models are very nave, very natural, and very good-humoured. The virtues which the artist values most in them are prettiness and punctuality. Every sensible model consequently keeps a diary of her engagements, and dresses neatly. The bad season is, of course, the summer, when the artists are out of town. However, of late years some artists have engaged their models to follow them, and the wife of one of our most charming painters has often had three or four models under her charge in the country, so that the work of her husband and his friends should not be interrupted. In France the models migrate _en ma.s.se_ to the little seaport villages or forest hamlets where the painters congregate. The English models, however, wait patiently in London, as a rule, till the artists come back. Nearly all of them live with their parents, and help to support the house. They have every qualification for being immortalised in art except that of beautiful hands. The hands of the English model are nearly always coa.r.s.e and red.

As for the male models, there is the veteran whom we have mentioned above. He has all the traditions of the grand style, and is rapidly disappearing with the school he represents. An old man who talks about Fuseli is, of course, unendurable, and, besides, patriarchs have ceased to be fas.h.i.+onable subjects. Then there is the true Academy model. He is usually a man of thirty, rarely good-looking, but a perfect miracle of muscles. In fact he is the apotheosis of anatomy, and is so conscious of his own splendour that he tells you of his tibia and his thorax, as if no one else had anything of the kind. Then come the Oriental models. The supply of these is limited, but there are always about a dozen in London.

They are very much sought after as they can remain immobile for hours, and generally possess lovely costumes. However, they have a very poor opinion of English art, which they regard as something between a vulgar personality and a commonplace photograph. Next we have the Italian youth who has come over specially to be a model, or takes to it when his organ is out of repair. He is often quite charming with his large melancholy eyes, his crisp hair, and his slim brown figure. It is true he eats garlic, but then he can stand like a faun and couch like a leopard, so he is forgiven. He is always full of pretty compliments, and has been known to have kind words of encouragement for even our greatest artists. As for the English lad of the same age, he never sits at all. Apparently he does not regard the career of a model as a serious profession. In any case he is rarely, if ever, to be got hold of. English boys, too, are difficult to find. Sometimes an ex-model who has a son will curl his hair, and wash his face, and bring him the round of the studios, all soap and s.h.i.+niness. The young school don't like him, but the older school do, and when he appears on the walls of the Royal Academy he is called _The Infant Samuel_. Occasionally also an artist catches a couple of _gamins_ in the gutter and asks them to come to his studio. The first time they always appear, but after that they don't keep their appointments. They dislike sitting still, and have a strong and perhaps natural objection to looking pathetic. Besides, they are always under the impression that the artist is laughing at them. It is a sad fact, but there is no doubt that the poor are completely unconscious of their own picturesqueness. Those of them who can be induced to sit do so with the idea that the artist is merely a benevolent philanthropist who has chosen an eccentric method of distributing alms to the undeserving. Perhaps the School Board will teach the London _gamin_ his own artistic value, and then they will be better models than they are now. One remarkable privilege belongs to the Academy model, that of extorting a sovereign from any newly elected a.s.sociate or R.A. They wait at Burlington House till the announcement is made, and then race to the hapless artist's house. The one who arrives first receives the money. They have of late been much troubled at the long distances they have had to run, and they look with disfavour on the election of artists who live at Hampstead or at Bedford Park, for it is considered a point of honour not to employ the underground railway, omnibuses, or any artificial means of locomotion. The race is to the swift.

Besides the professional posers of the studio there are posers of the Row, the posers at afternoon teas, the posers in politics and the circus posers. All four cla.s.ses are delightful, but only the last cla.s.s is ever really decorative. Acrobats and gymnasts can give the young painter infinite suggestions, for they bring into their art an element of swiftness of motion and of constant change that the studio model necessarily lacks. What is interesting in these 'slaves of the ring' is that with them Beauty is an unconscious result not a conscious aim, the result in fact of the mathematical calculation of curves and distances, of absolute precision of eye, of the scientific knowledge of the equilibrium of forces, and of perfect physical training. A good acrobat is always graceful, though grace is never his object; he is graceful because he does what he has to do in the best way in which it can be done-graceful because he is natural. If an ancient Greek were to come to life now, which considering the probable severity of his criticisms would be rather trying to our conceit, he would be found far oftener at the circus than at the theatre. A good circus is an oasis of h.e.l.lenism in a world that reads too much to be wise, and thinks too much to be beautiful. If it were not for the running-ground at Eton, the towing-path at Oxford, the Thames swimming-baths, and the yearly circuses, humanity would forget the plastic perfection of its own form, and degenerate into a race of short-sighted professors and spectacled _precieuses_. Not that the circus proprietors are, as a rule, conscious of their high mission. Do they not bore us with the _haute ecole_, and weary us with Shakespearean clowns? Still, at least, they give us acrobats, and the acrobat is an artist. The mere fact that he never speaks to the audience shows how well he appreciates the great truth that the aim of art is not to reveal personality but to please. The clown may be blatant, but the acrobat is always beautiful. He is an interesting combination of the spirit of Greek sculpture with the spangles of the modern costumier. He has even had his niche in the novels of our age, and if _Manette Salomon_ be the unmasking of the model, _Les Freres Zemganno_ is the apotheosis of the acrobat.

As regards the influence of the ordinary model on our English school of painting, it cannot be said that it is altogether good. It is, of course, an advantage for the young artist sitting in his studio to be able to isolate 'a little corner of life,' as the French say, from disturbing surroundings, and to study it under certain effects of light and shade. But this very isolation leads often to mere mannerism in the painter, and robs him of that broad acceptance of the general facts of life which is the very essence of art. Model-painting, in a word, while it may be the condition of art, is not by any means its aim.

It is simply practice, not perfection. Its use trains the eye and the hand of the painter, its abuse produces in his work an effect of mere posing and prettiness. It is the secret of much of the artificiality of modern art, this constant posing of pretty people, and when art becomes artificial it becomes monotonous. Outside the little world of the studio, with its draperies and its _bric-a-brac_, lies the world of life with its infinite, its Shakespearean variety. We must, however, distinguish between the two kinds of models, those who sit for the figure and those who sit for the costume. The study of the first is always excellent, but the costume-model is becoming rather wearisome in modern pictures. It is really of very little use to dress up a London girl in Greek draperies and to paint her as a G.o.ddess. The robe may be the robe of Athens, but the face is usually the face of Brompton. Now and then, it is true, one comes across a model whose face is an exquisite anachronism, and who looks lovely and natural in the dress of any century but her own. This, however, is rather rare. As a rule models are absolutely _de notre siecle_, and should be painted as such.

Unfortunately they are not, and, as a consequence, we are shown every year a series of scenes from fancy dress b.a.l.l.s which are called historical pictures, but are little more than mediocre representations of modern people masquerading. In France they are wiser. The French painter uses the model simply for study; for the finished picture he goes direct to life.

However, we must not blame the sitters for the shortcomings of the artists. The English models are a well-behaved and hard-working cla.s.s, and if they are more interested in artists than in art, a large section of the public is in the same condition, and most of our modern exhibitions seem to justify its choice.