They are subjects for study, like
everything
else.
Oscar Wilde - Poetry
It is, of course, a ridiculous word to
apply to a work of art. For what is morbidity but a mood of emotion or a
mode of thought that one cannot express? The public are all morbid,
because the public can never find expression for anything. The artist is
never morbid. He expresses everything. He stands outside his subject,
and through its medium produces incomparable and artistic effects. To
call an artist morbid because he deals with morbidity as his
subject-matter is as silly as if one called Shakespeare mad because he
wrote 'King Lear. '
On the whole, an artist in England gains something by being attacked.
His individuality is intensified. He becomes more completely himself. Of
course, the attacks are very gross, very impertinent, and very
contemptible. But then no artist expects grace from the vulgar mind, or
style from the suburban intellect. Vulgarity and stupidity are two very
vivid facts in modern life. One regrets them, naturally. But there they
are.
They are subjects for study, like everything else. And it is only
fair to state, with regard to modern journalists, that they always
apologise to one in private for what they have written against one in
public.
Within the last few years two other adjectives, it may be mentioned,
have been added to the very limited vocabulary of art-abuse that is at
the disposal of the public. One is the word 'unhealthy,' the other is
the word 'exotic. ' The latter merely expresses the rage of the momentary
mushroom against the immortal, entrancing, and exquisitely lovely
orchid. It is a tribute, but a tribute of no importance. The word
'unhealthy,' however, admits of analysis. It is a rather interesting
word. In fact, it is so interesting that the people who use it do not
know what it means.
What does it mean? What is a healthy, or an unhealthy work of art? All
terms that one applies to a work of art, provided that one applies them
rationally, have reference to either its style or its subject, or to
both together. From the point of view of style, a healthy work of art is
one whose style recognises the beauty of the material it employs, be
that material one of words or of bronze, of colour or of ivory, and uses
that beauty as a factor in producing the aesthetic effect. From the point
of view of subject, a healthy work of art is one the choice of whose
subject is conditioned by the temperament of the artist, and comes
directly out of it. In fine, a healthy work of art is one that has both
perfection and personality. Of course, form and substance cannot be
separated in a work of art; they are always one.
apply to a work of art. For what is morbidity but a mood of emotion or a
mode of thought that one cannot express? The public are all morbid,
because the public can never find expression for anything. The artist is
never morbid. He expresses everything. He stands outside his subject,
and through its medium produces incomparable and artistic effects. To
call an artist morbid because he deals with morbidity as his
subject-matter is as silly as if one called Shakespeare mad because he
wrote 'King Lear. '
On the whole, an artist in England gains something by being attacked.
His individuality is intensified. He becomes more completely himself. Of
course, the attacks are very gross, very impertinent, and very
contemptible. But then no artist expects grace from the vulgar mind, or
style from the suburban intellect. Vulgarity and stupidity are two very
vivid facts in modern life. One regrets them, naturally. But there they
are.
They are subjects for study, like everything else. And it is only
fair to state, with regard to modern journalists, that they always
apologise to one in private for what they have written against one in
public.
Within the last few years two other adjectives, it may be mentioned,
have been added to the very limited vocabulary of art-abuse that is at
the disposal of the public. One is the word 'unhealthy,' the other is
the word 'exotic. ' The latter merely expresses the rage of the momentary
mushroom against the immortal, entrancing, and exquisitely lovely
orchid. It is a tribute, but a tribute of no importance. The word
'unhealthy,' however, admits of analysis. It is a rather interesting
word. In fact, it is so interesting that the people who use it do not
know what it means.
What does it mean? What is a healthy, or an unhealthy work of art? All
terms that one applies to a work of art, provided that one applies them
rationally, have reference to either its style or its subject, or to
both together. From the point of view of style, a healthy work of art is
one whose style recognises the beauty of the material it employs, be
that material one of words or of bronze, of colour or of ivory, and uses
that beauty as a factor in producing the aesthetic effect. From the point
of view of subject, a healthy work of art is one the choice of whose
subject is conditioned by the temperament of the artist, and comes
directly out of it. In fine, a healthy work of art is one that has both
perfection and personality. Of course, form and substance cannot be
separated in a work of art; they are always one.
