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null - BEAUTY AND TERROR: ESSAYS ON THE POWER OF PAINTING.
Table of contents
- History of aesthetics before the 20th century
- Control de Plagas
- How wonder works
- MODERN PAINTERS. VOLUME IV., by JOHN RUSKIN
The Naturalistic type of argument — to the effect that, in real life, a beautiful woman might get a cold sore — is irrelevant esthetically. Art is not concerned with actual occurrences or events as such, but with their metaphysical significance to man. Subconsciously, without any knowledge of esthetic theory, but by virtue of the implicit nature of art, this is the way in which most people react to fiction and to all other forms of art.
History of aesthetics before the 20th century
Hence one may be impersonal and indifferent in regard to a news story, even though it is real; and one feels an intensely personal emotion about a fiction story, even though it is invented. This emotion may be positive, when one finds the abstraction applicable to oneself — or resentfully negative, when one finds it inapplicable and inimical. It is not journalistic information or scientific education or moral guidance that man seeks from a work of art though these may be involved as secondary consequences , but the fulfillment of a more profound need: a confirmation of his view of existence — a confirmation, not in the sense of resolving cognitive doubts, but in the sense of permitting him to contemplate his abstractions outside his own mind, in the form of existential concretes.
Since man lives by reshaping his physical background to serve his purpose, since he must first define and then create his values — a rational man needs a concretized projection of these values, an image in whose likeness he will re-shape the world and himself. Art gives him that image; it gives him the experience of seeing the full, immediate, concrete reality of his distant goals.
It is like a moment of rest, a moment to gain fuel to move farther. The same principle applies to an irrational man, though in different terms, according to his different views and responses. Between these two extremes, there lies the immense continuum of men of mixed premises — whose sense of life holds unresolved, precariously balanced or openly contradictory elements of reason and unreason — and works of art that reflect these mixtures.
Control de Plagas
Some sort of philosophical meaning, however, some implicit view of life, is a necessary element of a work of art. The absence of any metaphysical values whatever, i.
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Bad art is, predominantly, the product of imitation, of secondhand copying, not of creative expression. Two distinct, but interrelated, elements of a work of art are the crucial means of projecting its sense of life: the subject and the style — what an artist chooses to present and how he presents it. The choice of subject declares what aspects of existence the artist regards as important — as worthy of being re-created and contemplated. He may present the triumph of heroes, in fact or in spirit Victor Hugo , or their struggle Michelangelo , or their defeat Shakespeare.
He may present the folks next door: next door to palaces Tolstoy , or to drugstores Sinclair Lewis , or to kitchens Vermeer , or to sewers Zola. He may present monsters as objects of moral denunciation Dostoevsky , or as objects of terror Goya — or he may demand sympathy for his monsters, and thus crawl outside the limits of the realm of values, including esthetic ones.
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The theme of an art work is the link uniting its subject and its style. Style is the most complex element of art, the most revealing and, often, the most baffling psychologically. The terrible inner conflicts from which artists suffer as much as or, perhaps, more than other men are magnified in their work.
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As an example: Salvador Dali, whose style projects the luminous clarity of a rational psycho-epistemology, while most though not all of his subjects project an irrational and revoltingly evil metaphysics. A similar, but less offensive, conflict may be seen in the paintings of Vermeer, who combines a brilliant clarity of style with the bleak metaphysics of Naturalism. This is the reason why style is crucially important in art — both to the artist and to the reader or viewer — and why its importance is experienced as a profoundly personal matter.
To the artist, it is an expression, to the reader or viewer a confirmation of his own consciousness — which means: of his efficacy — which means: of his self-esteem or pseudo-self-esteem. Now a word of warning about the criteria of esthetic judgment. A sense of life is the source of art, but it is not the sole qualification of an artist or of an esthetician, and it is not a criterion of esthetic judgment.
Emotions are not tools of cognition. Esthetics is a branch of philosophy — and just as a philosopher does not approach any other branch of his science with his feelings or emotions as his criterion of judgment, so he cannot do it in the field of esthetics.
How wonder works
A sense of life is not sufficient professional equipment. An esthetician — as well as any man who attempts to evaluate art works — must be guided by more than an emotion. One does not have to agree with an artist nor even to enjoy him in order to evaluate his work. I will mention only that such principles are defined by the science of esthetics — a task at which modern philosophy has failed dismally.
Even in the realm of personal choices, there are many different aspects from which one may enjoy a work of art — other than sense-of-life affinity. But there are many other levels or degrees of liking; the differences are similar to the difference between romantic love and affection or friendship. For instance: I love the work of Victor Hugo, in a deeper sense than admiration for his superlative literary genius, and I find many similarities between his sense of life and mine, although I disagree with virtually all of his explicit philosophy — I like Dostoevsky, for his superb mastery of plot structure and for his merciless dissection of the psychology of evil, even though his philosophy and his sense of life are almost diametrically opposed to mine — I like the early novels of Mickey Spillane, for his plot ingenuity and moralistic style, even though his sense of life clashes with mine, and no explicit philosophical element is involved in his work — I cannot stand Tolstoy, and reading him was the most boring literary duty I ever had to perform, his philosophy and his sense of life are not merely mistaken, but evil, and yet, from a purely literary viewpoint, on his own terms, I have to evaluate him as a good writer.
Now, to demonstrate the difference between an intellectual approach and a sense of life, I will restate the preceding paragraph in sense-of-life terms: Hugo gives me the feeling of entering a cathedral — Dostoevsky gives me the feeling of entering a chamber of horrors, but with a powerful guide — Spillane gives me the feeling of hearing a military band in a public park — Tolstoy gives me the feeling of an unsanitary backyard which I do not care to enter. An artist reveals his naked soul in his work — and so, gentle reader, do you when you respond to it.
MODERN PAINTERS. VOLUME IV., by JOHN RUSKIN
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