How do we distinguish the owl
from the beast, the horse from the ox, but by the bounding outline?
from the beast, the horse from the ox, but by the bounding outline?
Yeats
Suddenly, on
the day after visiting the Truchsessian Gallery of pictures'--this
was a gallery containing pictures by Albert Durer and by the great
Florentines--'I was again enlightened with the light I enjoyed in my
youth, and which had for exactly twenty years been closed from me,
as by a door and window shutters. . . . Excuse my enthusiasm, or rather
madness, for I am really drunk with intellectual vision whenever I take
a pencil or graver in my hand, as I used to be in my youth. '
This letter may have been the expression of a moment's enthusiasm,
but was more probably rooted in one of those intuitions of coming
technical power which every creator feels, and learns to rely upon;
for all his greatest work was done, and the principles of his art
were formulated, after this date. Except a word here and there, his
writings hitherto had not dealt with the principles of art except
remotely and by implication; but now he wrote much upon them, and not
in obscure symbolic verse, but in emphatic prose, and explicit if not
very poetical rhyme. In his _Descriptive Catalogue_, in _The Address
to the Public_, in the notes on Sir Joshua Reynolds, in _The Book of
Moonlight_--of which some not very dignified rhymes alone remain--in
beautiful detached passages in _The MS. Book_, he explained spiritual
art, and praised the painters of Florence and their influence, and
cursed all that has come of Venice and Holland. The limitation of
his view was from the very intensity of his vision; he was a too
literal realist of imagination, as others are of nature; and because
he believed that the figures seen by the mind's eye, when exalted by
inspiration, were 'eternal existences,' symbols of divine essences,
he hated every grace of style that might obscure their lineaments.
To wrap them about in reflected lights was to do this, and to dwell
over-fondly upon any softness of hair or flesh was to dwell upon that
which was least permanent and least characteristic, for 'The great and
golden rule of art, as of life, is this: that the more distinct, sharp
and wiry the boundary-line, the more perfect the work of art; and the
less keen and sharp, the greater is the evidence of weak imitation,
plagiarism and bungling. ' Inspiration was to see the permanent and
characteristic in all forms, and if you had it not, you must needs
imitate with a languid mind the things you saw or remembered, and so
sink into the sleep of nature where all is soft and melting. 'Great
inventors in all ages knew this. Protogenes and Apelles knew each
other by their line. Raphael and Michael Angelo and Albert Durer
are known by this and this alone.
How do we distinguish the owl
from the beast, the horse from the ox, but by the bounding outline?
How do we distinguish one face or countenance from another but by
the bounding-line and its infinite inflections and movements? What
is it that builds a house and plants a garden but the definite and
determinate? What is it that distinguished honesty from knavery but
the hard and wiry line of rectitude and certainty in the actions and
intentions? Leave out this line and you leave out life itself; and all
is chaos again, and the line of the Almighty must be drawn out upon it
before man or beast can exist. ' He even insisted that 'colouring does
not depend upon where the colours are put, but upon where the light
and dark are put, and all depends upon the form or outline'--meaning,
I suppose, that a colour gets its brilliance or its depth from being
in light or in shadow. He does not mean by outline the bounding-line
dividing a form from its background, as one of his commentators has
thought, but the line that divides it from surrounding space, and
unless you have an overmastering sense of this you cannot draw true
beauty at all, but only 'the beauty that is appended to folly,' a
beauty of mere voluptuous softness, 'a lamentable accident of the
mortal and perishing life,' for 'the beauty proper for sublime art is
lineaments, or forms and features capable of being the receptacles of
intellect,' and 'the face or limbs that alter least from youth to old
age are the face and limbs of the greatest beauty and perfection. '
His praise of a severe art had been beyond price had his age rested
a moment to listen, in the midst of its enthusiasm for Correggio and
the later Renaissance, for Bartolozzi and for Stothard; and yet in
his visionary realism, and in his enthusiasm for what, after all, is
perhaps the greatest art, and a necessary part of every picture that
is art at all, he forgot how he who wraps the vision in lights and
shadows, in iridescent or glowing colour, having in the midst of his
labour many little visions of these secondary essences, until form be
half lost in pattern, may compel the canvas or paper to become itself a
symbol of some not indefinite because unsearchable essence; for is not
the Bacchus and Ariadne of Titian a talisman as powerfully charged with
intellectual virtue as though it were a jewel-studded door of the city
seen on Patmos?
To cover the imperishable lineaments of beauty with shadows and
reflected lights was to fall into the power of his 'Vala,' the
indolent fascination of nature, the woman divinity who is so often
described in 'the prophetic books' as 'sweet pestilence,' and whose
children weave webs to take the souls of men; but there was yet a
more lamentable chance, for nature has also a 'masculine portion' or
'spectre' which kills instead of merely hiding, and is continually at
war with inspiration. To 'generalize' forms and shadows, to 'smooth
out' spaces and lines in obedience to 'laws of composition,' and of
painting; founded, not upon imagination, which always thirsts for
variety and delights in freedom, but upon reasoning from sensation
which is always seeking to reduce everything to a lifeless and slavish
uniformity; as the popular art of Blake's day had done, and as he
understood Sir Joshua Reynolds to advise, was to fall into 'Entuthon
Benithon,' or 'the Lake of Udan Adan,' or some other of those regions
where the imagination and the flesh are alike dead, that he names by
so many resonant phantastical names. 'General knowledge is remote
knowledge,' he wrote; 'it is in particulars that wisdom consists, and
happiness too. Both in art and life general masses are as much art as a
pasteboard man is human. Every man has eyes, nose and mouth; this every
idiot knows. But he who enters into and discriminates most minutely
the manners and intentions, the characters in all their branches, is
the alone wise or sensible man, and on this discrimination all art is
founded. . .
the day after visiting the Truchsessian Gallery of pictures'--this
was a gallery containing pictures by Albert Durer and by the great
Florentines--'I was again enlightened with the light I enjoyed in my
youth, and which had for exactly twenty years been closed from me,
as by a door and window shutters. . . . Excuse my enthusiasm, or rather
madness, for I am really drunk with intellectual vision whenever I take
a pencil or graver in my hand, as I used to be in my youth. '
This letter may have been the expression of a moment's enthusiasm,
but was more probably rooted in one of those intuitions of coming
technical power which every creator feels, and learns to rely upon;
for all his greatest work was done, and the principles of his art
were formulated, after this date. Except a word here and there, his
writings hitherto had not dealt with the principles of art except
remotely and by implication; but now he wrote much upon them, and not
in obscure symbolic verse, but in emphatic prose, and explicit if not
very poetical rhyme. In his _Descriptive Catalogue_, in _The Address
to the Public_, in the notes on Sir Joshua Reynolds, in _The Book of
Moonlight_--of which some not very dignified rhymes alone remain--in
beautiful detached passages in _The MS. Book_, he explained spiritual
art, and praised the painters of Florence and their influence, and
cursed all that has come of Venice and Holland. The limitation of
his view was from the very intensity of his vision; he was a too
literal realist of imagination, as others are of nature; and because
he believed that the figures seen by the mind's eye, when exalted by
inspiration, were 'eternal existences,' symbols of divine essences,
he hated every grace of style that might obscure their lineaments.
To wrap them about in reflected lights was to do this, and to dwell
over-fondly upon any softness of hair or flesh was to dwell upon that
which was least permanent and least characteristic, for 'The great and
golden rule of art, as of life, is this: that the more distinct, sharp
and wiry the boundary-line, the more perfect the work of art; and the
less keen and sharp, the greater is the evidence of weak imitation,
plagiarism and bungling. ' Inspiration was to see the permanent and
characteristic in all forms, and if you had it not, you must needs
imitate with a languid mind the things you saw or remembered, and so
sink into the sleep of nature where all is soft and melting. 'Great
inventors in all ages knew this. Protogenes and Apelles knew each
other by their line. Raphael and Michael Angelo and Albert Durer
are known by this and this alone.
How do we distinguish the owl
from the beast, the horse from the ox, but by the bounding outline?
How do we distinguish one face or countenance from another but by
the bounding-line and its infinite inflections and movements? What
is it that builds a house and plants a garden but the definite and
determinate? What is it that distinguished honesty from knavery but
the hard and wiry line of rectitude and certainty in the actions and
intentions? Leave out this line and you leave out life itself; and all
is chaos again, and the line of the Almighty must be drawn out upon it
before man or beast can exist. ' He even insisted that 'colouring does
not depend upon where the colours are put, but upon where the light
and dark are put, and all depends upon the form or outline'--meaning,
I suppose, that a colour gets its brilliance or its depth from being
in light or in shadow. He does not mean by outline the bounding-line
dividing a form from its background, as one of his commentators has
thought, but the line that divides it from surrounding space, and
unless you have an overmastering sense of this you cannot draw true
beauty at all, but only 'the beauty that is appended to folly,' a
beauty of mere voluptuous softness, 'a lamentable accident of the
mortal and perishing life,' for 'the beauty proper for sublime art is
lineaments, or forms and features capable of being the receptacles of
intellect,' and 'the face or limbs that alter least from youth to old
age are the face and limbs of the greatest beauty and perfection. '
His praise of a severe art had been beyond price had his age rested
a moment to listen, in the midst of its enthusiasm for Correggio and
the later Renaissance, for Bartolozzi and for Stothard; and yet in
his visionary realism, and in his enthusiasm for what, after all, is
perhaps the greatest art, and a necessary part of every picture that
is art at all, he forgot how he who wraps the vision in lights and
shadows, in iridescent or glowing colour, having in the midst of his
labour many little visions of these secondary essences, until form be
half lost in pattern, may compel the canvas or paper to become itself a
symbol of some not indefinite because unsearchable essence; for is not
the Bacchus and Ariadne of Titian a talisman as powerfully charged with
intellectual virtue as though it were a jewel-studded door of the city
seen on Patmos?
To cover the imperishable lineaments of beauty with shadows and
reflected lights was to fall into the power of his 'Vala,' the
indolent fascination of nature, the woman divinity who is so often
described in 'the prophetic books' as 'sweet pestilence,' and whose
children weave webs to take the souls of men; but there was yet a
more lamentable chance, for nature has also a 'masculine portion' or
'spectre' which kills instead of merely hiding, and is continually at
war with inspiration. To 'generalize' forms and shadows, to 'smooth
out' spaces and lines in obedience to 'laws of composition,' and of
painting; founded, not upon imagination, which always thirsts for
variety and delights in freedom, but upon reasoning from sensation
which is always seeking to reduce everything to a lifeless and slavish
uniformity; as the popular art of Blake's day had done, and as he
understood Sir Joshua Reynolds to advise, was to fall into 'Entuthon
Benithon,' or 'the Lake of Udan Adan,' or some other of those regions
where the imagination and the flesh are alike dead, that he names by
so many resonant phantastical names. 'General knowledge is remote
knowledge,' he wrote; 'it is in particulars that wisdom consists, and
happiness too. Both in art and life general masses are as much art as a
pasteboard man is human. Every man has eyes, nose and mouth; this every
idiot knows. But he who enters into and discriminates most minutely
the manners and intentions, the characters in all their branches, is
the alone wise or sensible man, and on this discrimination all art is
founded. . .
