Were I called on to define, very briefly, the term Art, I should call it 'the reproduction of what the Senses perceive in Nature through the veil of the soul.' The mere imitation, however accurate, of what is in Nature, entitles no man to the sacred name of 'Artist.'
Things are because we see them, and what we see, and how we see it, depends on the Arts that influenced us. To look at a thing is very different from seeing a thing. One does not see anything until one sees its beauty. Then, and then only, does it comes into existence.
Nothing, indeed, is more dangerous to the young artist than any
conception of ideal beauty: he is constantly led by it either into
weak prettiness or lifeless abstraction: whereas to touch the
ideal at all you must not strip it of vitality. You must find it in life and re-create it in art.
Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.
Great works of art have no more affecting lesson for us than this. They teach us to abide by our own spontaneous expression with good humored inflexibility whether the whole cry of voices is on the other side.
From women's eyes this doctrine I derive: They sparkle still the right Promethean fire; They are the books, the arts, the academes, That show, contain and nourish all the world.
Every time some new huckster of angst-ridden metaphor is appointed by Art Forum, the congregation genuflects, stroking the catalog like a handful of Rosary beads, and starts spreading that old gospel according to Hyperbole. No questions asked... And thus the bill of goods is sold, all along the line. An art historical snake, swallowing its own tale.
Art is limitation; the essence of every picture is the frame. If you draw a giraffe, you must draw him with a long neck. If in your bold creative way you hold yourself free to draw a giraffe with a short neck, you will really find that you are not free to draw a giraffe.
A prudent man... must behave like those archers who, if they are skillful, when the target seems too distant, know the capabilities of their bow and aim a good deal higher than their objective, not in order to shoot so high but so that by aiming high they can reach the target.
And so long as they were at war, their power was preserved, but when they had attained empire they fell, for of the arts of peace they knew nothing, and had never engaged in any employment higher than war.
To say that a work of art is good, but incomprehensible to the majority of men, is the same as saying of some kind of food that it is very good but that most people can't eat it.
But where only a free play of our presentational powers is to be sustained, as in the case of pleasure gardens, room decoration, all sorts of useful utensils, and so on, any regularity that has an air of constraint is [to be] avoided as much as possible. That is why the English taste in gardens, or the baroque taste in furniture, carries the imagination's freedom very far, even to the verge of the grotesque, because it is precisely this divorce from any constraint of a rule that the case is posited where taste can show its greatest perfection in designs made by the imagination.
I have heard that stiff people lose something of their awkwardness under high ceilings, and in spacious halls. I think, sculptureand painting have an effect to teach us manners, and abolish hurry.
Though we travel the world over to find the beautiful, we must carry it with us, or we find it not. The best of beauty is a finer charm than skill in surfaces, in outlines, or rules of art can ever teach, namely, a radiation from the work of art of human character, — a wonderful expression through stone, or canvas, or musical sound, of the deepest and simplest attributes of our nature, and therefore most intelligible at last to those souls which have these attributes.