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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..799af60 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68241 (https://www.gutenberg.org/ebooks/68241) diff --git a/old/68241-0.txt b/old/68241-0.txt deleted file mode 100644 index 8b6d8de..0000000 --- a/old/68241-0.txt +++ /dev/null @@ -1,886 +0,0 @@ -The Project Gutenberg eBook of The profanity of paint, by William -Kiddier - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The profanity of paint - -Author: William Kiddier - -Release Date: June 4, 2022 [eBook #68241] - -Language: English - -Produced by: The Online Distributed Proofreading Team at - https://www.pgdp.net (This file was produced from images - generously made available by The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK THE PROFANITY OF PAINT *** - - - - - -THE PROFANITY OF PAINT - - - - - THE PROFANITY - OF PAINT. BY - WILLIAM KIDDIER - - LONDON: A. C. FIFIELD, - 13, CLIFFORD’S INN, E.C., - 1916 - - - - - PRINTED BY WILLIAM BRENDON AND SON, LTD., - PLYMOUTH, ENGLAND - - - - -TO LOVERS OF COLOUR - - - - -Contents - - - PAGE - - 1. My Book is True 11 - - 2. My Friends the Trees 13 - - 3. The Profanity of Paint 17 - - 4. The Miserable Pursuit of Knowledge 21 - - 5. The Gift of Silence 23 - - 6. The Magic of Words 27 - - 7. The Personal Note 29 - - 8. Colour 31 - - 9. Extravagance 33 - - 10. Relation 35 - - 11. Tragedy 39 - - 12. The Tonic of Genius 41 - - 13. Critics 43 - - 14. The Closed Ear 45 - - 15. The Painter’s Cigarette 47 - - 16. The People’s Café 51 - - 17. The Middle-class 53 - - 18. The Masterpiece 57 - - 19. Mission 61 - - - - -1. My Book is True - - -My view-point is the painter’s, the poet’s; ah, I am a romanticist! But -my book is true. The romanticist finds truth without seeking it; it -is before him, around him, and he gathers it all with the joy of the -child that plucks the flowers in the fields. _Truth_ is not knowledge: -it belongs to temperament; it is vision! The child and the romanticist -love the beautiful, that is all: _truth_ is there! - - - - -2. My Friends the Trees - - -I have loved trees all my life; they were the friends of my baby years. -Though the land of the trees seemed far away from the close-built -houses, I wandered thither with great joy and never knew that my little -feet were tired. The tall aspens were the most wonderful things in -the world: they are still. I shed tears on being told that the Cross -was made from one of them. I have wept since at the sight of their -trembling leaves. They trembled for the tragedy of Golgotha. I know -they will tremble to the end of the world. Melancholy trees! O but they -are beautiful--beautiful and gentle like a nun with a prayer quivering -upon her lips, with her white fingers and her rosary sparkling from -under her robe: and, lo, the aspens are all alike, as she and her holy -sisters must needs be for the sake of their holiness. - -Sensitive to all the changes of the sky, the aspen reflects wondrous -colour; the leaves, like a million little mirrors, draw the blue and -the purple from above and drink the orange from departing suns. And all -the colour and the light blend in subtle harmonies like the precious -pearls on the neck of a goddess. Ah! do they not pulsate like the -strings of beads on a maiden’s breast? The vision is fleeting as it is -beautiful; the colour upon the leaves, like that in the dews around, is -surely spiritual. - - - - -3. The Profanity of Paint - - -As a painter, out-of-doors, the aspens are my despair, for they are -surely beyond the limitations of paint. I once set my palette with -bright colours with a grove of aspens in front of me: O, but when I -looked up into all the mass of shimmering leaves, spread out like a -garment inwoven with gems, flowing upon the breezes and toying with the -rich dyes of heaven, I shut down my box, threw myself upon the grass -and sat there in idle adoration, like a heathen before his god. If all -I beheld was meant for a revelation it was surely as beautiful as the -burning bush. To Moses I am more than grateful: it is through him that -God’s voice rings out against the bad artist: _Thou shalt not make ... -any likeness of any thing._ When God said the same thing to the Chinese -three thousand years ago they understood and have painted _colour_ ever -since. Why is the western world in the dark? - -O let my eyes be baptized with the sun that I may behold _colour_ like -the heathen! - -How long I stayed in the temple of the trees I do not know; time did -not count because I was not at work: all was like a dream. If I had -been a Florentine of the olden days I would have seen here the robes -of a saint, perhaps the shining garment of the Blessed Virgin. - -I did well to close my box and keep my eyes unspoiled by the profanity -of paint, leaving the pure impression to some happy occasion when the -memory of it all will be sufficient for my picture. - - - - -4. The Miserable Pursuit of Knowledge - - -The trend of this book shows clearly that I am no realist. Although, -in my solitude, years ago, I made many careful drawings of various -things and gained some knowledge of their mechanism, my labours -brought me no pleasure save the small satisfaction of having done a -self-inflicted task after reading miserable books on art. In those days -I pitied myself; but now I pity the miserable authors. The education -of the painter is a mistake: educate the _man_! The painter will find -himself, sooner or later. If there is no painter in him his case is -hopeless. - -Art education, so called, which is the training of the eye and the -hand, gives one a facility for recording facts: _truth_ never. Truth -is _felt_. To the painter, the poet, the romanticist facts are cold -things belonging to the past--dead things that have nothing to do with -intuition, _vision_, _truth_. He must dream new dreams, employ new -methods, create new things! He is not a common creature and, therefore, -should not be entrusted with any public responsibility: but God grant -that in all the economic medley, called civilization, he may have the -right to live. - - - - -5. The Gift of Silence - - -Although I write just the things I feel, my book is an effort: but I am -glad of this. That I have no liking for any literary task and hate all -correspondence I regard as a gift. My mother has a rarer gift: she does -not talk. She speaks when she has something to say and never utters -empty words. O but she is eloquent! She clothes her thoughts with -simple language and stops at the right moment; it is a well-timed pause -in which her face counts. Her intermittent silence is a master stroke; -it gives the same sense of space that I would have in my picture. -Perhaps it is beyond art, but it is all hers without an effort; arising -out of her good soul it belongs to her nature. - -I see her too little; her home is in a village on the coast and mine in -an inland city. That I shall miss her one day is the miserable thought -I cannot get rid of without seeing her. O but when I arrive my fears -vanish in a moment, for she lives for me. She is dear to look upon: -but when she looks at me my sense of spiritual security is greater -than can ever be described. I feel the influence of her peace which -brings mine back to me. Her eyes are aglow from silent thoughts of me, -and I stay with no other desire than to be with her and believe in -immortality--believe all her belief! - - - - -6. The Magic of Words - - -There is something in the art of the master that I can never find a -word for. I believe it is a sin to seek for one. Art in the finer sense -is beyond the limitations of all words assigned by the philologists. -The master is a magician, therefore it is only the poets that can speak -with authority about his work: and it requires all the magic of poetry -to deal with the creation of things. Words must be arranged so as to -lose all their etymological stiffness before they can ever express the -things born of inspiration. Only inasmuch as the poet’s song transcends -the meaning of his words does he approach the spiritual sense of art. - - - - -7. The Personal Note - - -In talking with brother painters I often find myself giving prominence -to some particular word like _rhythm_, _vibration_, or _colour_: -but I must always forget the root-meaning, or I would discard it -at once. I must employ my adopted word in a new way. Its special -meaning, though never explained, is communicated by repeating the -word freely in various relations, pronouncing it with emphasis in an -unexpected moment, or, again, pausing before its utterance so that -the appreciative ear may anticipate it and catch the spiritual sense -intuitively and feel all I had attached to it from myself. It is -nonsense to talk upon art without a personal note of this kind! - - - - -8. Colour - - -Very few understand how much _colour_ means to the colourist, or why, -in the higher sense, like _music_ it has no plural. Colours are the -pigments, the materials: but _colour_ is the soul of things! - -I believe _colour_ belongs to the fairies; it never comes quite within -our grasp. It is borne upon the air, its chariot is the morning -dews, and its paths the sunbeams. I have come to regard _colour_ as -a spiritual thing changing for ever, as all spiritual things do. Of -a truth it is the beautiful emblem of _change_. The idea of eternal -change is fascinating beyond measure. God never created a _fixture_ -intentionally. We are immortal only inasmuch as we are eternally moving -with the thought of God! - - - - -9. Extravagance - - -I love the word extravagance in its application to _colour_; for is not -the sense of _colour_ an innocent _extravagance_ of the mind, which -saves the possessor from discontent and death? I know I shall not die -while _colour_ floods in upon my eyes: it is the silent music of an -eternal vision! - - - - -10. Relation - - -The other day at coffee with a group of young painters I talked upon -the importance of _relation_. I went so far as to say that no picture -could have any sense of dignity without the quality I have named. -Everything in the work should, in some special degree, contribute to -the first idea. Nothing should be introduced for the sake of variety. -No; it is better to let _sameness_ be the principle. - -I have seen sheep grazing in a meadow with all their heads turned -one way, all quietly pursuing the same course, as though led by a -sympathetic spirit, and I have felt that the peace of all the pastures -was undisturbed by their presence. I once saw a group of rustics with -all their faces so nearly alike as to represent a distinct type; all -bent upon the same work, pursuing the task with natural ease and -unconscious order, and I felt the nobility of their occupation, the -blessedness of labour. And when I have seen such people kneel before -the crucifix with their heads bowed towards the east and have noted -from behind the simplicity in their manners, the _sameness_ in all -their clothes, I have felt the fervour of their religion, the divinity -of poverty that makes them all unconsciously _relative_! - -But if I want humour I get into a motor-bus and watch the mixed types, -the short and the long, the fat and the thin, the hook nose and the -snub; and I get it. But does not the motor-bus show the painter the -confusion of ideas he must always avoid in his work? - -I sometimes think there is humour in trees when cultivated by people -who, from an insatiate love of variety, plant one of every kind -around their lawns. No artist, unless he was mad, would record such a -confusion of things as this. - -Of a truth trees can only be painted by the sympathetic hand, one -that can make a simple group out of all around him, selecting only -those that, by their forms, shall contribute to the artistic sense -_relation_! In a word, the painter must never aim for likeness; the -material sense should never be transferred to canvas: more than -anything else trees have superb rhythmic tendencies: inspired by these, -he should paint a rhythmic picture. - - - - -11. Tragedy - - -The sky was impressive by its change from sunlight to sudden darkness; -and the ethereal fabric hung like black velvet over all the woods. All -the colour that a moment ago clothed the trees was gone in an instant, -as a candle is blown out; and the world was without form. - -I stood under a tree. The sense of my own presence was the only note of -reality that disturbed the dream of pre-world void. - -In a few minutes the heavens opened high above my head and a stream of -light slanted down upon an old oak. Perhaps it was the searchlight of -a war god, for in a moment the oak was struck, and the earth shook as -it fell. I was captivated as much by the greatness of the tree as by -its fall; it was torn up with its roots with a mountain of clay in its -grip. But more wondrous than all were the forewarned sheep that nestled -under it to the last moment. Why did they all rise and leap forth into -the open field? What made them flee before the blast?... There are -sanctuaries which should never be unveiled: there are questions you -should not attempt to answer--this is one. - - - - -12. The Tonic of Genius - - -There never was a colourist without a keen sense of humour and never -without a generous soul. When I say humour I do not mean satire or -anything that leaves a bitter taste. Satire is permissible with the -community, but should never be directed against a person. - -Humour must always be buoyant, pleasant in every way, and have no other -meaning than that which makes the person who happens to be the sport -of it laugh with the rest. The one so honoured must, of course, be a -genuine humorist, or he would be unworthy of special attention. - -Humour is the tonic of genius. It is the healthy reaction of prolonged -serious thought, the pleasant negative of stern reality, the divine -intoxicant for the over-productive brain. - -I have always felt that the past should be either forgotten or turned -to humour. The only serious part of life is the present, but this -should have its lighter side. When we have ceased to laugh we have done -with all generous feeling, and, when this is dead, it is the end of all -creative thought. - - - - -13. Critics - - -A book is not worth its paper if it cannot suffer by the process of -critical mutilation; writing, and also painting, must be viewed as a -whole, but never pigment by pigment or line by line. Every paragraph -read separately must call forth some opposite view or else the book is -poor stuff. Every inch of the picture closely viewed by itself must -bewilder the observer; otherwise, it is a weak, insipid, belaboured -canvas, good for nothing. I tell you for your own sake: _do not hold a -microscope in front of genius_! - - - - -14. The Closed Ear - - -If I listened attentively to the things that others say my work would -lose character. To pay attention to criticism is to pursue the process -of laboured refinement which reduces all to the commonplace. Critics -with much knowledge are people with retrospective minds; they cannot be -of use to the born painter whose work is creative. Knowledge is related -to things already accomplished; but the vast unexplored fields open -to creative genius are beyond the range of all critical analysis. The -painter, more than any other, lives a life of spiritual change. - -Look at the sky! The luminaries return, return, return! To the -scientist they move with regularity and precision; but to the -romanticist they shed new light every moment. The astronomer knows the -facts: the poet _feels the truth_! - - - - -15. The Painter’s Cigarette - - -There is a certain something in a cigarette that gives character to the -painter’s conversation. The cigarette itself plays an important part -in timing the frequent pauses to suit the wit of genius. The curls of -smoke punctuate a series of brilliant aphorisms which otherwise would -be impossible. The painter has the gift of making parables. The fact is -he talks from feeling rather than reason. He never makes a speech: he -tells you something. But is he not charming withal? - -He has no self-restraint. The cold, placid surface, the cultivated -evenness that is counted a valuable asset in the man of business, in -the politician and the millionaire, is not his, thank God! - -In his heart he is a child. He will talk about himself and his own work -so frankly that you will always be interested if not wholly charmed. -Unselfish in every vein, his grievance is never a personal one; it has -no bearings save for his art. From this point the matter is soon beaten -flat under his hammer of words. If he had not the courage to say all -he felt he would be no painter! But do not be deceived: his fearless -tongue has a fine counterpart deep in his heart. As a man in the right -capable of strong denunciation, he is the man you may safely approach -and trust! - - - - -16. The People’s Café - - -I prefer the café of the people, and never visit any that has an -exclusive atmosphere unless I am obliged. I do not care to see many -rich people at one time. It was ordained that the percentage of rich -should always be small, therefore a crowd of them in one spot is bad -form, often bad colour, and mostly confusion. A group of artisans never -gives me any unpleasant thoughts: it is the natural order of things; -the poor were regarded by Our Lord as the multitude. - - - - -17. The Middle-class - - -That I belong to the middle-class is my chief misfortune; it is -better to be born an aristocrat, but better still an artisan. To the -middle-class belong all the money makers: builders of monopolies, -political wire-pullers, and all that spells greed. These people buy -everything and sell everybody. With them lying is an art, whereas -for the poor it is only a pastime. The aristocrat--the product of -luxury and idleness--is as much above any mean action as he is at -loss in managing his own affairs. He must employ agents: _enter the -middle-class_! To them he entrusts all his worldly belongings, with an -intuitive knowledge that he is robbed always and will be as long as he -lives. He knows they pursue his money with all the zest that he pursues -sport. But he always carries the same bright face, the same kind heart; -and he would pay to the last penny. O but how strange, his agents -save him from ruin! and the people on the land contribute more to the -miserable business than is known to my lord, more than they themselves -ever realise: and so the middle-class remains the back-bone of the -Empire. But what does this mean? The truth is that God made the lord -and the labourer: the rest is mainly the work of the devil! - - - - -18. The Masterpiece - - -I once told a young artist to attempt no masterpiece. The thing cannot -be done. The moment you think of doing a masterpiece you are befooled. -Providence does not allow you to arrange anything of that kind. All -you must do is paint with a generous heart--paint _colour_--and leave -to the next generation the selection of your masterpiece. The painter, -above all men, must be himself, without any regard for the world’s -judgment. Do not be deceived: Time will decide the masterpiece--_Time -will destroy it!_ - - From out the ageless oceans in the west, - Where lazily the gods of new worlds rise - And stretch their mighty limbs across the skies-- - Insatiate giants roused from out long rest-- - Uprose a Titan whose dark arms and breast - Blackened the sea and drew the gull’s shrill cries; - In his dark head he rolled his gloating eyes - And kept his cruel lips together pressed. - - The sea that bore him was the eternal pit; - Into its depths he threw the dreams of men-- - Threw with one stroke ten thousand tomes of rhyme, - As many works of art, each once deemed fit - To live. One was a masterpiece! Ah, then - These words came forth: _I am the Tomb of Time!_ - - - - -19. Mission - - -What is the painter’s mission? My dear sir, he has no mission. He may -talk about anything and everything, but this is his pastime. His art -should not be connected with any movement. Painting is a personal -matter and, therefore, cannot be regulated by communities. When -the painter talks he throws light upon himself, which is necessary -sometimes; it may help others to understand him. The painter must be -judged, in the end, from his own point of view: it is the only moral -judgment for an honest man! - - - - -TRANSCRIBER’S NOTE: - - - Italicized text is surrounded by underscores: _italics_. - -*** END OF THE PROJECT GUTENBERG EBOOK THE PROFANITY OF PAINT *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The profanity of paint</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: William Kiddier</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: June 4, 2022 [eBook #68241]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE PROFANITY OF PAINT ***</div> - -<div class="figcenter hide"><img src="images/coversmall.jpg" width="450" alt="" /></div> - -<hr class="chap x-ebookmaker-drop" /> - -<h1>THE PROFANITY<br /> -OF PAINT</h1> -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter"> -<div class="figcenter"><img src="images/i_title.jpg" alt="" /></div> -</div> -<hr class="chap x-ebookmaker-drop" /> - - -<div class="titlepage"> -<p class="ph2"> -THE PROFANITY<br /> -OF PAINT. BY<br /> -WILLIAM KIDDIER</p> - -<p class="ph1">LONDON: A. C. FIFIELD,<br /> -13, CLIFFORD’S INN, E.C.,<br /> -1916</p> -</div> -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter"> - -<p class="center"> -PRINTED BY WILLIAM BRENDON AND SON, LTD.,<br /> -PLYMOUTH, ENGLAND</p> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="titlepage"> - -<p class="ph1">TO LOVERS<br /> -OF COLOUR</p> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_9">[9]</span> -<h2 class="nobreak">Contents</h2> -</div> - - -<table> - - -<tr><td class="tdr" colspan="3"><small>PAGE</small></td></tr> - -<tr><td class="tdr">1.</td><td> My Book is True</td><td class="tdr"><a href="#Page_11"> 11</a></td></tr> - -<tr><td class="tdr">2.</td><td> My Friends the Trees</td><td class="tdr"><a href="#Page_13"> 13</a></td></tr> - -<tr><td class="tdr">3.</td><td> The Profanity of Paint</td><td class="tdr"><a href="#Page_17"> 17</a></td></tr> - -<tr><td class="tdr">4.</td><td> The Miserable Pursuit of Knowledge     </td><td class="tdr"><a href="#Page_21"> 21</a></td></tr> - -<tr><td class="tdr">5.</td><td> The Gift of Silence</td><td class="tdr"><a href="#Page_23"> 23</a></td></tr> - -<tr><td class="tdr">6.</td><td> The Magic of Words</td><td class="tdr"><a href="#Page_27"> 27</a></td></tr> - -<tr><td class="tdr">7.</td><td> The Personal Note</td><td class="tdr"><a href="#Page_29"> 29</a></td></tr> - -<tr><td class="tdr">8.</td><td> Colour</td><td class="tdr"><a href="#Page_31"> 31</a></td></tr> - -<tr><td class="tdr">9.</td><td> Extravagance</td><td class="tdr"><a href="#Page_33"> 33</a></td></tr> - -<tr><td class="tdr">10.</td><td> Relation</td><td class="tdr"><a href="#Page_35"> 35</a></td></tr> - -<tr><td class="tdr">11.</td><td> Tragedy</td><td class="tdr"><a href="#Page_39"> 39</a></td></tr> - -<tr><td class="tdr">12.</td><td> The Tonic of Genius</td><td class="tdr"><a href="#Page_41"> 41</a></td></tr> - -<tr><td class="tdr">13.</td><td> Critics</td><td class="tdr"><a href="#Page_43"> 43</a></td></tr> - -<tr><td class="tdr">14.</td><td> The Closed Ear</td><td class="tdr"><a href="#Page_45"> 45</a><span class="pagenum" id="Page_10">[10]</span></td></tr> - -<tr><td class="tdr">15.</td><td> The Painter’s Cigarette</td><td class="tdr"><a href="#Page_47"> 47</a></td></tr> - -<tr><td class="tdr">16.</td><td> The People’s Café</td><td class="tdr"><a href="#Page_51"> 51</a></td></tr> - -<tr><td class="tdr">17.</td><td> The Middle-class</td><td class="tdr"><a href="#Page_53"> 53</a></td></tr> - -<tr><td class="tdr">18.</td><td> The Masterpiece</td><td class="tdr"><a href="#Page_57"> 57</a></td></tr> - -<tr><td class="tdr">19.</td><td> Mission</td><td class="tdr"><a href="#Page_61"> 61</a></td></tr> -</table> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_11">[11]</span> - -<h2 class="nobreak">1. My Book is True</h2> -</div> - - -<p class="drop-cap">MY view-point is the painter’s, -the poet’s; ah, I am a romanticist! -But my book is true. The -romanticist finds truth without seeking -it; it is before him, around him, and -he gathers it all with the joy of the -child that plucks the flowers in the -fields. <i>Truth</i> is not knowledge: it belongs -to temperament; it is vision! -The child and the romanticist love the -beautiful, that is all: <i>truth</i> is there!</p> -<p><span class="pagenum" id="Page_12">[12]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_13">[13]</span> - -<h2 class="nobreak">2. My Friends the -Trees</h2> -</div> - - -<p class="drop-cap">I   HAVE loved trees all my life; they -were the friends of my baby years. -Though the land of the trees seemed -far away from the close-built houses, I -wandered thither with great joy and -never knew that my little feet were -tired. The tall aspens were the most -wonderful things in the world: they -are still. I shed tears on being told -that the Cross was made from one of -them. I have wept since at the sight -of their trembling leaves. They trembled -for the tragedy of Golgotha. I<span class="pagenum" id="Page_14">[14]</span> -know they will tremble to the end of -the world. Melancholy trees! O but -they are beautiful—beautiful and gentle -like a nun with a prayer quivering upon -her lips, with her white fingers and her -rosary sparkling from under her robe: -and, lo, the aspens are all alike, as she -and her holy sisters must needs be for -the sake of their holiness.</p> - -<p>Sensitive to all the changes of the -sky, the aspen reflects wondrous colour; -the leaves, like a million little mirrors, -draw the blue and the purple from -above and drink the orange from departing -suns. And all the colour and -the light blend in subtle harmonies like -the precious pearls on the neck of a -goddess. Ah! do they not pulsate<span class="pagenum" id="Page_15">[15]</span> -like the strings of beads on a maiden’s -breast? The vision is fleeting as it is -beautiful; the colour upon the leaves, -like that in the dews around, is surely -spiritual.</p> -<p><span class="pagenum" id="Page_16">[16]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_17">[17]</span> - -<h2 class="nobreak">3. The Profanity of -Paint</h2> -</div> - - -<p class="drop-cap2">AS a painter, out-of-doors, the -aspens are my despair, for they -are surely beyond the limitations of -paint. I once set my palette with -bright colours with a grove of aspens -in front of me: O, but when I looked -up into all the mass of shimmering -leaves, spread out like a garment inwoven -with gems, flowing upon the -breezes and toying with the rich dyes -of heaven, I shut down my box, threw -myself upon the grass and sat there in -idle adoration, like a heathen before his<span class="pagenum" id="Page_18">[18]</span> -god. If all I beheld was meant for a -revelation it was surely as beautiful as -the burning bush. To Moses I am -more than grateful: it is through him -that God’s voice rings out against the -bad artist: <i>Thou shalt not make ... any -likeness of any thing.</i> When God said -the same thing to the Chinese three -thousand years ago they understood -and have painted <i>colour</i> ever since. -Why is the western world in the dark?</p> - -<p>O let my eyes be baptized with the -sun that I may behold <i>colour</i> like the -heathen!</p> - -<p>How long I stayed in the temple of -the trees I do not know; time did not -count because I was not at work: all -was like a dream. If I had been a<span class="pagenum" id="Page_19">[19]</span> -Florentine of the olden days I would -have seen here the robes of a saint, -perhaps the shining garment of the -Blessed Virgin.</p> - -<p>I did well to close my box and keep -my eyes unspoiled by the profanity of -paint, leaving the pure impression to -some happy occasion when the memory -of it all will be sufficient for my picture.</p> -<p><span class="pagenum" id="Page_20">[20]</span></p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_21">[21]</span> - -<h2 class="nobreak">4. The Miserable Pursuit -of Knowledge</h2> -</div> - - -<p class="drop-cap">THE trend of this book shows -clearly that I am no realist. -Although, in my solitude, years ago, -I made many careful drawings of various -things and gained some knowledge -of their mechanism, my labours brought -me no pleasure save the small satisfaction -of having done a self-inflicted task -after reading miserable books on art. -In those days I pitied myself; but now -I pity the miserable authors. The -education of the painter is a mistake: -educate the <i>man</i>! The painter will<span class="pagenum" id="Page_22">[22]</span> -find himself, sooner or later. If there -is no painter in him his case is hopeless.</p> - -<p>Art education, so called, which is the -training of the eye and the hand, gives -one a facility for recording facts: <i>truth</i> -never. Truth is <i>felt</i>. To the painter, -the poet, the romanticist facts are cold -things belonging to the past—dead -things that have nothing to do with -intuition, <i>vision</i>, <i>truth</i>. He must dream -new dreams, employ new methods, -create new things! He is not a -common creature and, therefore, should -not be entrusted with any public responsibility: -but God grant that in all -the economic medley, called civilization, -he may have the right to live.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_23">[23]</span> - -<h2 class="nobreak">5. The Gift of Silence</h2> -</div> - - -<p class="drop-cap2">ALTHOUGH I write just the -things I feel, my book is an -effort: but I am glad of this. That I -have no liking for any literary task and -hate all correspondence I regard as a -gift. My mother has a rarer gift: she -does not talk. She speaks when she -has something to say and never utters -empty words. O but she is eloquent! -She clothes her thoughts with simple -language and stops at the right moment; -it is a well-timed pause in which her -face counts. Her intermittent silence -is a master stroke; it gives the same<span class="pagenum" id="Page_24">[24]</span> -sense of space that I would have in my -picture. Perhaps it is beyond art, but -it is all hers without an effort; arising -out of her good soul it belongs to her -nature.</p> - -<p>I see her too little; her home is in a -village on the coast and mine in an -inland city. That I shall miss her one -day is the miserable thought I cannot -get rid of without seeing her. O but -when I arrive my fears vanish in a moment, -for she lives for me. She is dear -to look upon: but when she looks at -me my sense of spiritual security is -greater than can ever be described. I -feel the influence of her peace which -brings mine back to me. Her eyes are -aglow from silent thoughts of me, and<span class="pagenum" id="Page_25">[25]</span> -I stay with no other desire than to be -with her and believe in immortality—believe -all her belief!</p> -<p><span class="pagenum" id="Page_26">[26]</span></p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_27">[27]</span> - -<h2 class="nobreak">6. The Magic of -Words</h2> -</div> - - -<p class="drop-cap">THERE is something in the art of -the master that I can never find -a word for. I believe it is a sin to seek -for one. Art in the finer sense is -beyond the limitations of all words -assigned by the philologists. The -master is a magician, therefore it is -only the poets that can speak with -authority about his work: and it requires -all the magic of poetry to deal -with the creation of things. Words -must be arranged so as to lose all their -etymological stiffness before they can<span class="pagenum" id="Page_28">[28]</span> -ever express the things born of inspiration. -Only inasmuch as the poet’s song -transcends the meaning of his words -does he approach the spiritual sense of -art.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_29">[29]</span> - -<h2 class="nobreak">7. The Personal Note</h2> -</div> - - -<p class="drop-cap">IN talking with brother painters I -often find myself giving prominence -to some particular word like <i>rhythm</i>, -<i>vibration</i>, or <i>colour</i>: but I must always -forget the root-meaning, or I would -discard it at once. I must employ my -adopted word in a new way. Its special -meaning, though never explained, is -communicated by repeating the word -freely in various relations, pronouncing -it with emphasis in an unexpected moment, -or, again, pausing before its -utterance so that the appreciative ear -may anticipate it and catch the spiritual<span class="pagenum" id="Page_30">[30]</span> -sense intuitively and feel all I had -attached to it from myself. It is nonsense -to talk upon art without a personal -note of this kind!</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_31">[31]</span> - -<h2 class="nobreak">8. Colour</h2> -</div> - - -<p class="drop-cap">VERY few understand how much -<i>colour</i> means to the colourist, or -why, in the higher sense, like <i>music</i> it -has no plural. Colours are the pigments, -the materials: but <i>colour</i> is the -soul of things!</p> - -<p>I believe <i>colour</i> belongs to the fairies; -it never comes quite within our grasp. -It is borne upon the air, its chariot is -the morning dews, and its paths the -sunbeams. I have come to regard -<i>colour</i> as a spiritual thing changing for -ever, as all spiritual things do. Of a -truth it is the beautiful emblem of<span class="pagenum" id="Page_32">[32]</span> -<i>change</i>. The idea of eternal change is -fascinating beyond measure. God never -created a <i>fixture</i> intentionally. We are -immortal only inasmuch as we are -eternally moving with the thought of -God!</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_33">[33]</span> - -<h2 class="nobreak">9. Extravagance</h2> -</div> - - -<p class="drop-cap">I   LOVE the word extravagance in -its application to <i>colour</i>; for is not -the sense of <i>colour</i> an innocent <i>extravagance</i> -of the mind, which saves the -possessor from discontent and death? -I know I shall not die while <i>colour</i> -floods in upon my eyes: it is the silent -music of an eternal vision!</p> -<p><span class="pagenum" id="Page_34">[34]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_35">[35]</span> - -<h2 class="nobreak">10. Relation</h2> -</div> - - -<p class="drop-cap">THE other day at coffee with a -group of young painters I talked -upon the importance of <i>relation</i>. I -went so far as to say that no picture -could have any sense of dignity without -the quality I have named. Everything -in the work should, in some -special degree, contribute to the -first idea. Nothing should be introduced -for the sake of variety. No; -it is better to let <i>sameness</i> be the -principle.</p> - -<p>I have seen sheep grazing in a -meadow with all their heads turned<span class="pagenum" id="Page_36">[36]</span> -one way, all quietly pursuing the same -course, as though led by a sympathetic -spirit, and I have felt that the peace of -all the pastures was undisturbed by -their presence. I once saw a group of -rustics with all their faces so nearly -alike as to represent a distinct type; -all bent upon the same work, pursuing -the task with natural ease and unconscious -order, and I felt the nobility of -their occupation, the blessedness of -labour. And when I have seen such -people kneel before the crucifix with -their heads bowed towards the east -and have noted from behind the simplicity -in their manners, the <i>sameness</i> -in all their clothes, I have felt the -fervour of their religion, the divinity<span class="pagenum" id="Page_37">[37]</span> -of poverty that makes them all unconsciously -<i>relative</i>!</p> - -<p>But if I want humour I get into a -motor-bus and watch the mixed types, -the short and the long, the fat and the -thin, the hook nose and the snub; and -I get it. But does not the motor-bus -show the painter the confusion of ideas -he must always avoid in his work?</p> - -<p>I sometimes think there is humour -in trees when cultivated by people who, -from an insatiate love of variety, plant -one of every kind around their lawns. -No artist, unless he was mad, would -record such a confusion of things as -this.</p> - -<p>Of a truth trees can only be painted -by the sympathetic hand, one that can<span class="pagenum" id="Page_38">[38]</span> -make a simple group out of all around -him, selecting only those that, by their -forms, shall contribute to the artistic -sense <i>relation</i>! In a word, the painter -must never aim for likeness; the -material sense should never be transferred -to canvas: more than anything -else trees have superb rhythmic tendencies: -inspired by these, he should -paint a rhythmic picture.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_39">[39]</span> - -<h2 class="nobreak">11. Tragedy</h2> -</div> - - -<p class="drop-cap">THE sky was impressive by its -change from sunlight to sudden -darkness; and the ethereal fabric hung -like black velvet over all the woods. -All the colour that a moment ago -clothed the trees was gone in an instant, -as a candle is blown out; and the world -was without form.</p> - -<p>I stood under a tree. The sense of -my own presence was the only note of -reality that disturbed the dream of pre-world -void.</p> - -<p>In a few minutes the heavens opened -high above my head and a stream of<span class="pagenum" id="Page_40">[40]</span> -light slanted down upon an old oak. -Perhaps it was the searchlight of a war -god, for in a moment the oak was -struck, and the earth shook as it fell. -I was captivated as much by the greatness -of the tree as by its fall; it was -torn up with its roots with a mountain -of clay in its grip. But more wondrous -than all were the forewarned sheep that -nestled under it to the last moment. -Why did they all rise and leap forth -into the open field? What made them -flee before the blast?... There are -sanctuaries which should never be unveiled: -there are questions you should -not attempt to answer—this is one.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_41">[41]</span> - -<h2 class="nobreak">12. The Tonic of -Genius</h2> -</div> - - -<p class="drop-cap">THERE never was a colourist -without a keen sense of humour -and never without a generous soul. -When I say humour I do not mean -satire or anything that leaves a bitter -taste. Satire is permissible with the -community, but should never be -directed against a person.</p> - -<p>Humour must always be buoyant, -pleasant in every way, and have no -other meaning than that which makes -the person who happens to be the sport -of it laugh with the rest. The one so<span class="pagenum" id="Page_42">[42]</span> -honoured must, of course, be a genuine -humorist, or he would be unworthy -of special attention.</p> - -<p>Humour is the tonic of genius. It -is the healthy reaction of prolonged -serious thought, the pleasant negative -of stern reality, the divine intoxicant -for the over-productive brain.</p> - -<p>I have always felt that the past should -be either forgotten or turned to humour. -The only serious part of life is the -present, but this should have its lighter -side. When we have ceased to laugh -we have done with all generous feeling, -and, when this is dead, it is the end of -all creative thought.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_43">[43]</span> - -<h2 class="nobreak">13. Critics</h2> -</div> - - -<p class="drop-cap">A BOOK is not worth its paper if -it cannot suffer by the process -of critical mutilation; writing, and also -painting, must be viewed as a whole, -but never pigment by pigment or line -by line. Every paragraph read separately -must call forth some opposite -view or else the book is poor stuff. -Every inch of the picture closely -viewed by itself must bewilder the -observer; otherwise, it is a weak, -insipid, belaboured canvas, good for -nothing. I tell you for your own sake: -<i>do not hold a microscope in front of genius</i>!</p> -<p><span class="pagenum" id="Page_44">[44]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_45">[45]</span> - -<h2 class="nobreak">14. The Closed Ear</h2> -</div> - - -<p class="drop-cap">IF I listened attentively to the things -that others say my work would -lose character. To pay attention to -criticism is to pursue the process of -laboured refinement which reduces all -to the commonplace. Critics with -much knowledge are people with retrospective -minds; they cannot be of use -to the born painter whose work is -creative. Knowledge is related to -things already accomplished; but the -vast unexplored fields open to creative -genius are beyond the range of all -critical analysis. The painter, more<span class="pagenum" id="Page_46">[46]</span> -than any other, lives a life of spiritual -change.</p> - -<p>Look at the sky! The luminaries -return, return, return! To the scientist -they move with regularity and precision; -but to the romanticist they shed new -light every moment. The astronomer -knows the facts: the poet <i>feels the truth</i>!</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_47">[47]</span> - -<h2 class="nobreak">15. The Painter’s -Cigarette</h2> -</div> - - -<p class="drop-cap">THERE is a certain something in -a cigarette that gives character -to the painter’s conversation. The cigarette -itself plays an important part in -timing the frequent pauses to suit the -wit of genius. The curls of smoke -punctuate a series of brilliant aphorisms -which otherwise would be impossible. -The painter has the gift of making -parables. The fact is he talks from -feeling rather than reason. He never -makes a speech: he tells you something. -But is he not charming withal?</p> - - - -<p><span class="pagenum" id="Page_48">[48]</span>He has no self-restraint. The cold, -placid surface, the cultivated evenness -that is counted a valuable asset in the -man of business, in the politician and -the millionaire, is not his, thank God!</p> - -<p>In his heart he is a child. He will -talk about himself and his own work -so frankly that you will always be -interested if not wholly charmed. Unselfish -in every vein, his grievance is -never a personal one; it has no bearings -save for his art. From this point -the matter is soon beaten flat under his -hammer of words. If he had not the -courage to say all he felt he would be -no painter! But do not be deceived: -his fearless tongue has a fine counterpart -deep in his heart. As a man in<span class="pagenum" id="Page_49">[49]</span> -the right capable of strong denunciation, -he is the man you may safely -approach and trust!</p> -<p><span class="pagenum" id="Page_50">[50]</span></p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_51">[51]</span> - -<h2 class="nobreak">16. The People’s Café</h2> -</div> - - -<p class="drop-cap">I   PREFER the café of the people, -and never visit any that has an exclusive -atmosphere unless I am obliged. -I do not care to see many rich people -at one time. It was ordained that the -percentage of rich should always be -small, therefore a crowd of them in -one spot is bad form, often bad colour, -and mostly confusion. A group of -artisans never gives me any unpleasant -thoughts: it is the natural order of -things; the poor were regarded by Our -Lord as the multitude.</p> -<p><span class="pagenum" id="Page_52">[52]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_53">[53]</span> - -<h2 class="nobreak">17. The Middle-class</h2> -</div> - - -<p class="drop-cap">THAT I belong to the middle-class -is my chief misfortune; it -is better to be born an aristocrat, but -better still an artisan. To the middle-class -belong all the money makers: -builders of monopolies, political wire-pullers, -and all that spells greed. These -people buy everything and sell everybody. -With them lying is an art, -whereas for the poor it is only a pastime. -The aristocrat—the product of -luxury and idleness—is as much above -any mean action as he is at loss in<span class="pagenum" id="Page_54">[54]</span> -managing his own affairs. He must -employ agents: <i>enter the middle-class</i>! -To them he entrusts all his worldly -belongings, with an intuitive knowledge -that he is robbed always and will be as -long as he lives. He knows they pursue -his money with all the zest that he -pursues sport. But he always carries -the same bright face, the same kind -heart; and he would pay to the last -penny. O but how strange, his agents -save him from ruin! and the people on -the land contribute more to the miserable -business than is known to my lord, -more than they themselves ever realise: -and so the middle-class remains the -back-bone of the Empire. But what -does this mean? The truth is that<span class="pagenum" id="Page_55">[55]</span> -God made the lord and the labourer: -the rest is mainly the work of the -devil!</p> -<p><span class="pagenum" id="Page_56">[56]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_57">[57]</span> - -<h2 class="nobreak">18. The Masterpiece</h2> -</div> - - -<p class="drop-cap">I   ONCE told a young artist to attempt -no masterpiece. The thing cannot -be done. The moment you think of -doing a masterpiece you are befooled. -Providence does not allow you to -arrange anything of that kind. All -you must do is paint with a generous -heart—paint <i>colour</i>—and leave to the -next generation the selection of your -masterpiece. The painter, above all -men, must be himself, without any regard -for the world’s judgment. Do -not be deceived: Time will decide the -masterpiece—<i>Time will destroy it!</i></p> - -<p><span class="pagenum" id="Page_58">[58]</span></p> - -<div class="blockquot"> -<p class="drop-cap">FROM out the ageless oceans in the west,<br /> -<span class="indent3">Where lazily the gods of new worlds rise</span><br /> -<span class="indent2">And stretch their mighty limbs across the skies—</span><br /> -Insatiate giants roused from out long rest—<br /> -Uprose a Titan whose dark arms and breast<br /> -<span class="indent2">Blackened the sea and drew the gull’s shrill cries;</span><br /> -<span class="indent2">In his dark head he rolled his gloating eyes</span><br /> -And kept his cruel lips together pressed.<br /> -<br /> -The sea that bore him was the eternal pit;<span class="pagenum" id="Page_59">[59]</span><br /> -<span class="indent2">Into its depths he threw the dreams of men—</span><br /> -<span class="indent2">Threw with one stroke ten thousand tomes of rhyme,</span><br /> -As many works of art, each once deemed fit<br /> -<span class="indent2">To live. One was a masterpiece! Ah, then</span><br /> -<span class="indent2">These words came forth: <i>I am the Tomb of Time!</i></span></p> -</div> - -<p><span class="pagenum" id="Page_60">[60]</span></p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<span class="pagenum" id="Page_61">[61]</span> - -<h2 class="nobreak">19. Mission</h2> -</div> - - -<p class="drop-cap">WHAT is the painter’s mission? -My dear sir, he has no mission. -He may talk about anything and everything, -but this is his pastime. His art -should not be connected with any movement. -Painting is a personal matter -and, therefore, cannot be regulated by -communities. When the painter talks -he throws light upon himself, which is -necessary sometimes; it may help others -to understand him. The painter must -be judged, in the end, from his own -point of view: it is the only moral -judgment for an honest man!</p> - - - - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE PROFANITY OF PAINT ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. 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