The Life of Reason by George Santayana (best black authors txt) 📖
- Author: George Santayana
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Representation naturally repeats those objects which are most interesting in themselves. Even the medium, when a choice is possible, is usually determined by the sort of objects to be reproduced. Instruments lose their virtue with their use and a medium of representation, together with its manipulation, is nothing but a vehicle. It is fit if it makes possible a good rendition. All accordingly hangs on what life has made interesting to the senses, on what presents itself persuasively to the artist for imitation; and living arts exist only while well-known, much-loved things imperatively demand to be copied, so that their reproduction has some honest non-æsthetic interest for mankind. Although subject matter is often said to be indifferent to art, and an artist, when his art is secondary, may think of his technique only, nothing is really so poor and melancholy as art that is interested in itself and not in its subject. If any remnant of inspiration or value clings to such a performance, it comes from a surviving taste for something in the real world. Thus the literature that calls itself purely æsthetic is in truth prurient; without this half-avowed weakness to play upon, the coloured images evoked would have had nothing to marshall or to sustain them.
A good way to understand schools and styles and to appreciate their respective functions and successes is to consider first what region of nature preoccupied the age in which they arose. Perception can cut the world up into many patterns, which it isolates and dignifies with the name of things. It must distinguish before it can reproduce and the objects which attention distinguishes are of many strange sorts. Thus the single man, the hero, in his acts of prowess or in his readiness, may be the unit and standard in discourse. It will then be his image that will preoccupy the arts. For such a task the most adequate art is evidently sculpture, for sculpture is the most complete of imitations. In no other art can apprehension render itself so exhaustively and with such recuperative force. Sculpture retains form and colour, with all that both can suggest, and it retains them in their integrity, leaving the observer free to resurvey them from any point of view and drink in their quality exhaustively.
The movement and speech which are wanting, the stage may be called upon to supply; but it cannot supply them without a terrible sacrifice, for it cannot give permanence to it expression. Acting is for this reason an inferior art, not perhaps in difficulty and certainly not in effect, but inferior in dignity, since the effort of art is to keep what is interesting in existence, to recreate it in the eternal, and this ideal is half frustrated if the representation is itself fleeting and the rendering has no firmer subsistence than the inspiration that gave it birth. By making himself, almost in his entirety, the medium of his art, the actor is morally diminished, and as little of him remains in his work, when this is good, as of his work in history. He lends himself without interest, and after being Brutus at one moment and Falstaff at another, he is not more truly himself. He is abolished by his creations, which nevertheless cannot survive him.
Being so adequate a rendering of its object, sculpture demands a perfect mastery over it and is correspondingly difficult. It requires taste and training above every other art; for not only must the material form be reproduced, but its motor suggestions and moral expression must be rendered; things which in the model itself are at best transitory, and which may never be found there if a heroic or ideal theme is proposed. The sculptor is obliged to have caught on the wing attitudes momentarily achieved or vaguely imagined; yet these must grow firm and harmonious under his hand. Nor is this enough; for sculpture is more dependent than other arts on its model. If the statue is to be ideal, i.e., if it is to express the possible motions and vital character of its subject, the model must itself be refined. Training must have cut in the flesh those lines which are to make the language and eloquence of the marble. Trivial and vulgar forms, such as modern sculpture abounds in, reflect an undisciplined race of men, one in which neither soul nor body has done anything well, because the two have done nothing together. The frame has remained gross or awkward, while the face has taken on a tense expression, betraying loose and undignified habits of mind. To carve such a creature is to perpetuate a caricature. The modern sculptor is stopped short at the first conception of a figure; if he gives it its costume, it is grotesque; if he strips it, it is unmeaning and pitiful.
Greece was in all these respects a soil singularly favourable to sculpture. The success there achieved was so conspicuous that two thousand years of essential superfluity have not availed to extirpate the art. Plastic impulse is indeed immortal, and many a hand, even without classic example, would have fallen to modelling. In the middle ages, while monumental sculpture was still rudely reminiscent, ornamental carving arose spontaneously. Yet at every step the experimental sculptor would run up against disaster. What could be seen in the streets, while it offered plenty of subjects, offered none that could stimulate his talent. His patrons asked only for illustration and applied ornament; his models offered only the smirk and sad humour of a stunted life. Here and there his statues might attain a certain sweetness and grace, such as painting might perfectly well have rendered; but on the whole sculpture remained decorative and infantile.
The Renaissance brought back technical freedom and a certain inspiration, unhappily a retrospective and exotic one. The art cut praiseworthy capers in the face of the public, but nobody could teach the public itself to dance. If several great temperaments, under the auspices of fashion, could then call up a magic world in which bodies still spoke a heroic language, that was a passing dream. Society could not feed such an artificial passion, nor the schools transmit an arbitrary personal style that responded to nothing permanent in social conditions. Academies continued to offer prizes for sculpture, the nude continued to be seen in studios, and equestrian or other rhetorical statues continued occasionally to be erected in public squares. Heroic sculpture, however, in modern society, is really an anomaly and confesses as much by being a failure. No personal talent avails to rescue an art from laboured insignificance when it has no steadying function in the moral world, and must waver between caprice and convention. Where something modest and genuine peeped out was in portraiture, and also at times in that devotional sculpture in wood which still responded to a native interest and consequently kept its sincerity and colour. Pious images may be feeble in the extreme, but they have not the weakness of being merely æsthetic. The purveyor of church wares has a stated theme; he is employed for a purpose; and if he has enough technical resource his work may become truly beautiful: which is not to say that he will succeed if his conceptions are without dignity or his style without discretion. There are good Mater dolorosas; there is no good Sacred Heart.
It may happen, however, that people are not interested in subjects that demand or allow reproduction in bulk. The isolated figure or simple group may seem cold apart from its natural setting. In rendering an action you may need to render its scene, if it is the circumstance that gives it value rather than the hero. You may also wish to trace out the action through a series of episodes with many figures. In the latter case you might have recourse to a bas-relief, which, although durable, is usually a thankless work; there is little in it that might not be conveyed in a drawing with distinctness. As some artists, like Michael Angelo, have carried the sculptor's spirit into painting, many more, when painting is the prevalent and natural art, have produced carved pictures. It may be said that any work is essentially a picture which is conceived from a single quarter and meant to be looked at only in one light. Objects in such a case need not be so truly apperceived and appropriated as they would have to be in true sculpture. One aspect suffices: the subject presented is not so much constructed as dreamt.
The whole history of painting may be strung on this single thread—the effort to reconstitute impressions, first the dramatic impression and then the sensuous. A summary and symbolic representation of things is all that at first is demanded; the point is to describe something pictorially and recall people's names and actions. It is characteristic of archaic painting to be quite discursive and symbolic; each figure is treated separately and stuck side by side with the others upon a golden ground. The painter is here smothered in the recorder, in the annalist; only those perceptions are allowed to stand which have individual names or chronicle facts mentioned in the story. But vision is really more sensuous and rich than report, if art is only able to hold vision in suspense and make it explicit. When painting is still at this stage, and is employed on hieroglyphics, it may reach the maximum of decorative splendour. Whatever sensuous glow finer representations may later acquire will be not sensuous merely, but poetical; Titians, Murillos, or Turners are colourists in representation, and their canvases would not be particularly warm or luminous if they represented nothing human or mystical or atmospheric. A stained-glass window or a wall of tiles can outdo them for pure colour and decorative magic. Leaving decoration, accordingly, to take care of itself and be applied as sense may from time to time require, painting goes on to elaborate the symbols with which it begins, to make them symbolise more and more of what their object contains. A catalogue of persons will fall into a group, a group will be fused into a dramatic action. Conventional as the separate figures may still be, their attitudes and relations will reconstitute the dramatic impression. The event will be rendered in its own language; it will not, to be recognised, have to appeal to words. Thus a symbolic crucifixion is a crucifixion only because we know by report that it is; a plastic crucifixion would first teach us, on the contrary, what a real crucifixion might be. It only remains to supply the aerial medium and make dramatic truth sensuous truth also.
To work up a sensation intellectually and reawaken all its passionate associations is to reach a new and more exciting sensation which we call emotion or thought. As in poetry there are two stages, one pregnant and prior to prose and another posterior and synthetic, so in painting we have not only a reversion to sense but an ulterior synthesis of the sensuous, its interpretation in a dramatic or poetic vision. Archaic painting, with its abstract rendering of separate things, is the prose of design. It would not be beautiful at all but for its colour and technical feeling—that expression of candour and satisfaction which may pervade it, as it might a Latin rhyme. To
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