Concerning the Spiritual in Art | Page 7

nature which can serve some definite purpose (for example a portrait in the ordinary sense) or a presentment of nature according to a certain convention ("impressionist" painting), or some inner feeling expressed in terms of natural form (as we say--a picture with Stimmung) [footnote: Stimmung is almost untranslateable. It is almost "sentiment" in the best sense, and almost "feeling." Many of Corot's twilight landscapes are full of a beautiful "Stimmung." Kandinsky uses the word later on to mean the "essential spirit" of nature.--M.T.H.S.] All those varieties of picture, when they are really art, fulfil their purpose and feed the spirit. Though this applies to the first case, it applies more strongly to the third, where the spectator does feel a corresponding thrill in himself. Such harmony or even contrast of emotion cannot be superficial or worthless; indeed the Stimmung of a picture can deepen and purify that of the spectator. Such works of art at least preserve the soul from coarseness; they "key it up," so to speak, to a certain height, as a tuning-key the strings of a musical instrument. But purification, and extension in duration and size of this sympathy of soul, remain one-sided, and the possibilities of the influence of art are not exerted to their utmost.
Imagine a building divided into many rooms. The building may be large or small. Every wall of every room is covered with pictures of various sizes; perhaps they number many thousands. They represent in colour bits of nature--animals in sunlight or shadow, drinking, standing in water, lying on the grass; near to, a Crucifixion by a painter who does not believe in Christ; flowers; human figures sitting, standing, walking; often they are naked; many naked women, seen foreshortened from behind; apples and silver dishes; portrait of Councillor So and So; sunset; lady in red; flying duck; portrait of Lady X; flying geese; lady in white; calves in shadow flecked with brilliant yellow sunlight; portrait of Prince Y; lady in green. All this is carefully printed in a book--name of artist--name of picture. People with these books in their hands go from wall to wall, turning over pages, reading the names. Then they go away, neither richer nor poorer than when they came, and are absorbed at once in their business, which has nothing to do with art. Why did they come? In each picture is a whole lifetime imprisoned, a whole lifetime of fears, doubts, hopes, and joys.
Whither is this lifetime tending? What is the message of the competent artist? "To send light into the darkness of men's hearts--such is the duty of the artist," said Schumann. "An artist is a man who can draw and paint everything," said Tolstoi.
Of these two definitions of the artist's activity we must choose the second, if we think of the exhibition just described. On one canvas is a huddle of objects painted with varying degrees of skill, virtuosity and vigour, harshly or smoothly. To harmonize the whole is the task of art. With cold eyes and indifferent mind the spectators regard the work. Connoisseurs admire the "skill" (as one admires a tightrope walker), enjoy the "quality of painting" (as one enjoys a pasty). But hungry souls go hungry away.
The vulgar herd stroll through the rooms and pronounce the pictures "nice" or "splendid." Those who could speak have said nothing, those who could hear have heard nothing. This condition of art is called "art for art's sake." This neglect of inner meanings, which is the life of colours, this vain squandering of artistic power is called "art for art's sake."
The artist seeks for material reward for his dexterity, his power of vision and experience. His purpose becomes the satisfaction of vanity and greed. In place of the steady co-operation of artists is a scramble for good things. There are complaints of excessive competition, of over-production. Hatred, partisanship, cliques, jealousy, intrigues are the natural consequences of this aimless, materialist art.
[Footnote: The few solitary exceptions do not destroy the truth of this sad and ominous picture, and even these exceptions are chiefly believers in the doctrine of art for art's sake. They serve, therefore, a higher ideal, but one which is ultimately a useless waste of their strength. External beauty is one element of a spiritual atmosphere. But beyond this positive fact (that what is beautiful is good) it has the weakness of a talent not used to the full. (The word talent is employed in the biblical sense.)]
The onlooker turns away from the artist who has higher ideals and who cannot see his life purpose in an art without aims.
Sympathy is the education of the spectator from the point of view of the artist. It has been said above that art is the child of its age. Such an art can only create an artistic feeling