Part 5 (1/2)

There is much foolish talk about conventional art, as if art could ever get away from conventions, if it would. The convention will be more natural or more abstract according to the nature of the thing to be conveyed and the medium employed to express it. But naturalism is just as much a convention as any of the other isms that art has lately been so a.s.sailed with. For a really unconventional art there is Madame Tussaud's Waxworks. There, even the convention of a frame and flat surface are done away with, besides the painted symbols to represent things. They have real natural chairs, tables, and floors, real clothes, and even real hair. Realism everywhere, but no life. And we all know the result. There is more expression of life in a few lines scribbled on paper by a good artist than in all the reality of the popular show.

It would seem that, after a certain point, the nearer your picture approaches the actual illusion of natural appearance, the further you are from the expression of life. One can never hope to surpa.s.s the illusionary appearance of a #tableau vivant#. There you have real, living people. But what an awful deathlike stillness is felt when the curtain is drawn aside. The nearer you approach the actual in all its completeness, the more evident is the lack of that #movement# which always accompanies life. You cannot express life by copying laboriously natural appearances. Those things in the appearance that convey vital expression and are capable of being translated into the medium he is working with, have to be sought by the artist, and the painted symbols of his picture made accordingly. This lack of the movement of life is never noticed in a good picture, on the other hand the figures are often felt to move.

Pictures are blamed for being conventional when it is lack of vitality that is the trouble. If the convention adopted has not been vitalised by the emotion that is the reason of the painting, it will, of course, be a lifeless affair. But however abstract and unnaturalistic the manner adopted, if it has been truly felt by the artist as the right means of expressing his emotional idea, it will have life and should not be called conventional in the commonly accepted offensive use of the term.

It is only when a painter consciously chooses a manner not his own, which he does not comprehend and is incapable of firing with his own personality, that his picture is ridiculous and conventional in the dead sense.

But every age differs in its temperament, and the artistic conventions of one age seldom fit another. The artist has to discover a convention for himself, one that fits his particular individuality. But this is done simply and naturally--not by starting out with the intention of flouting all traditional conventions on principle; nor, on the other hand, by accepting them all on principle, but by simply following his own bent and selecting what appeals to him in anything and everything that comes within the range of his vision. The result is likely to be something very different from the violent exploits in peculiarity that have been masquerading as originality lately. #Originality is more concerned with sincerity than with peculiarity.#

The struggling and fretting after originality that one sees in modern art is certainly an evidence of vitality, but one is inclined to doubt whether anything really original was ever done in so forced a way. The older masters, it seems, were content sincerely to try and do the best they were capable of doing. And this continual striving to do better led them almost unconsciously to new and original results. Originality is a quality over which an artist has as little influence as over the shape and distinction of his features. All he can do is to be sincere and try and find out the things that really move him and that he really likes.

If he has a strong and original character, he will have no difficulty in this, and his work will be original in the true sense. And if he has not, it is a matter of opinion whether he is not better employed in working along the lines of some well-tried manner that will at any rate keep him from doing anything really bad, than in struggling to cloak his own commonplaceness under violent essays in peculiarity and the avoidance of the obvious at all costs.

But while speaking against fretting after eccentricity, don't let it be a.s.sumed that any discouragement is being given to genuine new points of view. In art, when a thing has once been well done and has found embodiment in some complete work of art, it has been done once for all.

The circ.u.mstances that produced it are never likely to occur again. That is why those painters who continue to reproduce a picture of theirs (we do not mean literally) that had been a success in the first instance, never afterwards obtain the success of the original performance. Every beautiful work of art is a new creation, the result of particular circ.u.mstances in the life of the artist and the time of its production, that have never existed before and will never recur again. Were any of the great masters of the past alive now, they would do very different work from what they did then, the circ.u.mstances being so entirely different. So that should anybody seek to paint like t.i.tian now, by trying to paint like t.i.tian did in his time, he could not attempt anything more unlike the spirit of that master; which in its day, like the spirit of all masters, was most advanced. But it is only by a scrupulously sincere and truthful att.i.tude of mind that the new and original circ.u.mstances in which we find ourselves can be taken advantage of for the production of original work. And self-conscious seeking after peculiarity only stops the natural evolution and produces abortions.

But do not be frightened by conventions, the different materials in which the artist works impose their conventions. And as it is through these materials that he has to find expression, what expressive qualities they possess must be studied, and those facts in nature selected that are in harmony with them. The treatment of hair by sculptors is an extreme instance of this. What are those qualities of hair that are amenable to expression in stone? Obviously they are few, and confined chiefly to the ma.s.s forms in which the hair arranges itself. The finest sculptors have never attempted more than this, have never lost sight of the fact that it was stone they were working with, and never made any attempt to create an illusion of real hair. And in the same way, when working in bronze, the fine artist never loses sight of the fact that it is bronze with which he is working. How sadly the distinguished painter to whom a misguided administration entrusted the work of modelling the British emblem overlooked this, may be seen any day in Trafalgar Square, the lions there possessing none of the splendour of bronze but looking as if they were modelled in dough, and possessing in consequence none of the vital qualities of the lion. It is interesting to compare them with the little lion Alfred Stevens modelled for the railing of the British Museum, and to speculate on what a thrill we might have received every time we pa.s.sed Trafalgar Square, had he been entrusted with the work, as he might have been.

And in painting, the great painters never lose sight of the fact that it is paint with which they are expressing themselves. And although paint is capable of approaching much nearer an actual illusory appearance of nature than stone or bronze, they never push this to the point where you forget that it is paint. This has been left for some of the smaller men.

And when it comes to drawing, the great artists have always confined themselves to the qualities in nature that the tool they were drawing with was capable of expressing, and no others. Whether working with pen, pencil, chalk, or charcoal, they always created a convention within which unlimited expression has been possible.

To sum up, academic drawing is all that can be really taught, and is as necessary to the painter as the practising of exercises is to the musician, that his powers of observation and execution may be trained.

But the vital matter of art is not in all this necessary training. And this fact the student should always keep in mind, and be ever ready to give rein to those natural enthusiasms which, if he is an artist, he will find welling up within him. The danger is that the absorbing interest in his academic studies may take up his whole attention, to the neglect of the instinctive qualities that he should possess the possession of which alone will ent.i.tle him to be an artist.

VII

THE STUDY OF DRAWING

We have seen that there are two extreme points of view from which the representation of form can be approached, that of outline directly related to the mental idea of form with its touch a.s.sociation on the one hand, and that of ma.s.s connected directly with the visual picture on the retina on the other.

Now, between these two extreme points of view there are an infinite variety of styles combining them both and leaning more to the one side or the other, as the case may be. But it is advisable for the student to study both separately, for there are different things to be learnt and different expressive qualities in nature to be studied in both.

From the study of outline drawing the eye is trained to accurate observation and learns the expressive value of a line. And the hand is also trained to definite statement, the student being led on by degrees from simple outlines to approach the full realisation of form in all the complexity of light and shade.

But at the same time he should study ma.s.s drawing with paint from the purely visual point of view, in order to be introduced to the important study of tone values and the expression of form by means of planes. And so by degrees he will learn accurately to observe and portray the tone ma.s.ses (their shapes and values) to which all visual appearances can be reduced; and he will gradually arrive at the full realisation of form--a realisation that will bring him to a point somewhat similar to that arrived at from the opposite point of view of an outline to which has been added light and shade, &c.

But unless both points of view are studied, the student's work will be incomplete. If form be studied only from the outline point of view, and what have been called sculptor's drawings alone attempted, the student will lack knowledge of the tone and atmosphere that always envelop form in nature. And also he will be poorly equipped when he comes to exchange the pencil for a brush and endeavours to express himself in paint.

And if his studies be only from the ma.s.s point of view, the training of his eye to the accurate observation of all the subtleties of contours and the construction of form will be neglected. And he will not understand the mental form stimulus that the direction and swing of a brush stroke can give. These and many things connected with expression can best be studied in line work.

Let the student therefore begin on the principles adopted in most schools, with outline studies of simple casts or models, and gradually add light and shade. When he has acquired more proficiency he may approach drawing from the life. This is sufficiently well done in the numerous schools of art that now exist all over the country. But, at the same time (and this, as far as I know, is not done anywhere), the student should begin some simple form of ma.s.s drawing in paint, simple exercises, as is explained later in the chapter on Ma.s.s Drawing, Practical, being at first attempted and criticised solely from the point of view of tone values.

[Ill.u.s.tration: Diagram II.

SHOWING WHERE SQUARENESSES MAY BE LOOKED FOR IN THE DRAWING ON THE OPPOSITE PAGE]