Modern Painting (Illustrated Edition). S.S. Van Dine

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      I

       ANCIENT AND MODERN ART

       Table of Contents

      Throughout the entire history of the fine arts, no period of æsthetic innovation and endeavour has suffered from public malignity, ridicule and ignorance as has painting during the last century. The reasons for this are many and, to the serious student of art history, obvious. The change between the old and the new order came swiftly and precipitously, like a cataclysm in the serenity of a summer night. The classic painters of the first half of the nineteenth century, such as David, Ingres, Gros and Gérard, were busy with their rehabilitation of ancient traditions, when without warning, save for the pale heresies of Constable, a new and rigorous régime was ushered in. It was Turner, Delacroix, Courbet and Daumier who entered the sacred temple, tore down the pillars which had supported it for centuries, and brought the entire structure of established values crashing down about them. They survived the débâcle, and when eventually they laid aside their brushes for all time it was with the unassailable knowledge that they had accomplished the greatest and most significant metamorphosis in the history of any art.

      But even these hardy anarchists of the new order little dreamed of the extremes to which their heresies would lead. So precipitous and complex has been the evolution of modern painting that most of the most revolutionary moderns have failed to keep mental step with its developments and divagations. During the past few years new modes and manners in art have sprung up with fungus-like rapidity. “Movements” and “schools” have followed one another with astounding pertinacity, each claiming that finality of expression which is the aim of all seekers for truth. And, with but few exceptions, the men who have instigated these innovations have been animated by a serious purpose—that of mastering the problem of æsthetic organisation and of circumscribing the one means for obtaining ultimate and indestructible results. But the problems of art, like those of life itself, are in the main unsolvable, and art must ever be an infinite search for the intractable. Form in painting, like the eternal readjustments and equilibria of life, is but an approximation to stability. The forces in all art are the forces of life, coordinated and organised. No plastic form can exist without rhythm: not rhythm in the superficial harmonic sense, but the rhythm which underlies the great fluctuating and equalising forces of material existence. Such rhythm is symmetry in movement. On it all form, both in art and life, is founded.

      Form in its artistic sense has four interpretations. First, it exhibits itself as shallow imitation of the surface aspects of nature, as in the work of such men as Sargent, Sorolla and Simon. Secondly, it contains qualities of solidity and competent construction such are as found in the paintings of Velazquez, Hogarth and Degas. Thirdly, it is a consummate portrayal of objects into which arbitrary arrangement has been introduced for the accentuation of volume. Raphael, Poussin and Goya exemplify this expression of it. Last, form reveals itself, not as an objective thing, but as an abstract phenomenon capable of giving the sensation of palpability. All great art falls under this final interpretation. But form, to express itself æsthetically, must be composed; and here we touch the controlling basis of all art:—organisation. Organisation is the use put to form for the production of rhythm. The first step in this process is the construction of line, line being the direction taken by one or more forms. In purely decorative rhythm the lines flow harmoniously from side to side and from top to bottom on a given surface. In the greatest art the lines are bent forward and backward as well as laterally so that, by their orientation in depth, an impression of profundity is added to that of height and breadth. Thus the simple image of decoration is destroyed, and a microcosmos is created in its place. Rhythm then becomes the inevitable adjustment of approaching and receding lines, so that they will reproduce the placements and displacements to be found in the human body when in motion.

      To understand, and hence fully to appreciate, a painting, we must be able to recognise its inherent qualities by the process of intellectual reasoning. By this is not implied mechanical or scientific observation. Were this necessary, art would resolve itself into a provable theory and would produce in us only such mental pleasure as we feel before a perfect piece of intricate machinery. But once we comprehend those constitutional qualities which pervade all great works of art, plastic and graphic, the sensuous emotion will follow so rapidly as to give the effect of spontaneity. This process of conscious observation in time becomes automatic and exerts itself on every work of art we inspect. Once adjusted to an assimilation of the rhythmic compositions of El Greco and Rubens, we have become susceptible to the tactile sensation of form in all painting. And this subjective emotion is keener than the superficial sensation aroused by the prettiness of design, the narrative of subject-matter, or the quasi-realities of transcription. More and more as we proximate to a true understanding of the principles of art, shall we react to those deeper and larger qualities in a painting which are not to be found in its documentary and technical side. Also our concern with the transient sentiments engendered by a picture’s external aspects will become less and less significant. Technique, dramatic feeling, subject, and even accuracy of drawing, will be relegated to the subsidiary and comparatively unimportant position they hold in relation to a painting’s æsthetic purpose.

      The lack of comprehension—and consequently the ridicule—which has met the efforts of modern painters, is attributable not alone to a misunderstanding of their seemingly for extravagant and eccentric mannerisms, but to an ignorance of the basic postulates of all great art both ancient and modern. Proof of this is afforded by the constant statements of preference for the least effectual of older painters over the greatest of the moderns. These preferences, if they are symptomatic of aught save the mere habit of a mind immersed in tradition, indicate an immaturity of artistic judgment which places prettiness above beauty, and sentimentality and documentary interest above subjectivity of emotion. The fallacies of such judgment can best be indicated by a parallel consideration of painters widely separated as to merit, but in whom these different qualities are found. For instance, the prettiness of Reynolds, Greuze and Murillo is as marked as the prettiness of Titian, Giorgione and Renoir. The latter are by far the greater artists; yet, had we no other critical standard save that of charm, the difference between them and the others would be indistinguishable. Zuloaga, Whistler, Botticelli and Böcklin are as inspirational of sentiment as Tintoretto, Corot, Raphael and Poussin; but by no authentic criterion are they as great painters. Again, were drama and simple narrative æsthetic considerations, Regnault, Brangwyn, and Antonino Molineri would rank with Valerio Castello, Rubens and Ribera.

      In one’s failure to distinguish between the apparent and the organic purposes of art lies the greatest obstacle to an appreciation of what has come to be called modern painting. The truths of modern art are no different from those of ancient art. A Cézanne landscape is not dissimilar in aim to an El Greco. The one is merely more advanced as to methods than the other. Nor do the canvases of the most ultra-modern schools strive toward an æsthetic manifestation radically unlike that aspired СКАЧАТЬ