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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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