The Florentine Painters of the Renaissance | Page 3

as is possessed by the objects represented--human figures in particular--but actually more, with the necessary result that to his contemporaries they conveyed a keener sense of reality, of life-likeness than the objects themselves! We whose current knowledge of anatomy is greater, who expect more articulation and suppleness in the human figure, who, in short, see much less na?vely now than Giotto's contemporaries, no longer find his paintings more than life-like; but we still feel them to be intensely real in the sense that they still powerfully appeal to our tactile imagination, thereby compelling us, as do all things that stimulate our sense of touch while they present themselves to our eyes, to take their existence for granted. And it is only when we can take for granted the existence of the object painted that it can begin to give us pleasure that is genuinely artistic, as separated from the interest we feel in symbols.
[Page heading: ANALYSIS OF ENJOYMENT OF PAINTING]
At the risk of seeming to wander off into the boundless domain of ?sthetics, we must stop at this point for a moment to make sure that we are of one mind regarding the meaning of the phrase "artistic pleasure," in so far at least as it is used in connection with painting.
What is the point at which ordinary pleasures pass over into the specific pleasures derived from each one of the arts? Our judgment about the merits of any given work of art depends to a large extent upon our answer to this question. Those who have not yet differentiated the specific pleasures of the art of painting from the pleasures they derive from the art of literature, will be likely to fall into the error of judging the picture by its dramatic presentation of a situation or its rendering of character; will, in short, demand of the painting that it shall be in the first place a good illustration. Those others who seek in painting what is usually sought in music, the communication of a pleasurable state of emotion, will prefer pictures which suggest pleasant associations, nice people, refined amusements, agreeable landscapes. In many cases this lack of clearness is of comparatively slight importance, the given picture containing all these pleasure-giving elements in addition to the qualities peculiar to the art of painting. But in the case of the Florentines, the distinction is of vital consequence, for they have been the artists in Europe who have most resolutely set themselves to work upon the specific problems of the art of figure-painting, and have neglected, more than any other school, to call to their aid the secondary pleasures of association. With them the issue is clear. If we wish to appreciate their merit, we are forced to disregard the desire for pretty or agreeable types, dramatically interpreted situations, and, in fact, "suggestiveness" of any kind. Worse still, we must even forego our pleasure in colour, often a genuinely artistic pleasure, for they never systematically exploited this element, and in some of their best works the colour is actually harsh and unpleasant. It was in fact upon form, and form alone, that the great Florentine masters concentrated their efforts, and we are consequently forced to the belief that, in their pictures at least, form is the principal source of our ?sthetic enjoyment.
Now in what way, we ask, can form in painting give me a sensation of pleasure which differs from the ordinary sensations I receive from form? How is it that an object whose recognition in nature may have given me no pleasure, becomes, when recognised in a picture, a source of ?sthetic enjoyment, or that recognition pleasurable in nature becomes an enhanced pleasure the moment it is transferred to art? The answer, I believe, depends upon the fact that art stimulates to an unwonted activity psychical processes which are in themselves the source of most (if not all) of our pleasures, and which here, free from disturbing physical sensations, never tend to pass over into pain. For instance: I am in the habit of realising a given object with an intensity that we shall value as 2. If I suddenly realise this familiar object with an intensity of 4, I receive the immediate pleasure which accompanies a doubling of my mental activity. But the pleasure rarely stops here. Those who are capable of receiving direct pleasure from a work of art, are generally led on to the further pleasures of self-consciousness. The fact that the psychical process of recognition goes forward with the unusual intensity of 4 to 2, overwhelms them with the sense of having twice the capacity they had credited themselves with: their whole personality is enhanced, and, being aware that this enhancement is connected with the object in question, they for some time after take not only