Art. Clive Bell
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pictures which are not works of art, and, therefore, are not necessarily means to good states of mind, are proper objects of the ethical philosopher's attention. Not being a work of art, "The Doctor" has none of the immense ethical value possessed by all objects that provoke aesthetic ecstasy; and the state of mind to which it is a means, as illustration, appears to me undesirable.
The works of those enterprising young men, the Italian Futurists, are notable examples of descriptive painting. Like the Royal Academicians, they use form, not to provoke aesthetic emotions, but to convey information and ideas. Indeed, the published theories of the Futurists prove that their pictures ought to have nothing whatever to do with art. Their social and political theories are respectable, but I would suggest to young Italian painters that it is possible to become a Futurist in thought and action and yet remain an artist, if one has the luck to be born one. To associate art with politics is always a mistake. Futurist pictures are descriptive because they aim at presenting in line and colour the chaos of the mind at a particular moment; their forms are not intended to promote aesthetic emotion but to convey information. These forms, by the way, whatever may be the nature of the ideas they suggest, are themselves anything but revolutionary. In such Futurist pictures as I have seen—perhaps I should except some by Severini—the drawing, whenever it becomes representative as it frequently does, is found to be in that soft and common convention brought into fashion by Besnard some thirty years ago, and much affected by Beaux-Art students ever since. As works of art, the Futurist pictures are negligible; but they are not to be judged as works of art. A good Futurist picture would succeed as a good piece of psychology succeeds; it would reveal, through line and colour, the complexities of an interesting state of mind. If Futurist pictures seem to fail, we must seek an explanation, not in a lack of artistic qualities that they never were intended to possess, but rather in the minds the states of which they are intended to reveal.
Most people who care much about art find that of the work that moves them most the greater part is what scholars call "Primitive." Of course there are bad primitives. For instance, I remember going, full of enthusiasm, to see one of the earliest Romanesque churches in Poitiers (Notre-Dame-la-Grande), and finding it as ill-proportioned, over-decorated, coarse, fat and heavy as any better class building by one of those highly civilised architects who flourished a thousand years earlier or eight hundred later. But such exceptions are rare. As a rule primitive art is good—and here again my hypothesis is helpful—for, as a rule, it is also free from descriptive qualities. In primitive art you will find no accurate representation; you will find only significant form. Yet no other art moves us so profoundly. Whether we consider Sumerian sculpture or pre-dynastic Egyptian art, or archaic Greek, or the Wei and T'ang masterpieces,[1] or those early Japanese works of which I had the luck to see a few superb examples (especially two wooden Bodhisattvas) at the Shepherd's Bush Exhibition in 1910, or whether, coming nearer home, we consider the primitive Byzantine art of the sixth century and its primitive developments amongst the Western barbarians, or, turning far afield, we consider that mysterious and majestic art that flourished in Central and South America before the coming of the white men, in every case we observe three common characteristics—absence of representation, absence of technical swagger, sublimely impressive form. Nor is it hard to discover the connection between these three. Formal significance loses itself in preoccupation with exact representation and ostentatious cunning.[2]
Naturally, it is said that if there is little representation and less saltimbancery in primitive art, that is because the primitives were unable to catch a likeness or cut intellectual capers. The contention is beside the point. There is truth in it, no doubt, though, were I a critic whose reputation depended on a power of impressing the public with a semblance of knowledge, I should be more cautious about urging it than such people generally are. For to suppose that the Byzantine masters wanted skill, or could not have created an illusion had they wished to do so, seems to imply ignorance of the amazingly dexterous realism of the notoriously bad works of that age. Very often, I fear, the misrepresentation of the primitives must be attributed to what the critics call, "wilful distortion." Be that as it may, the point is that, either from want of skill or want of will, primitives neither create illusions, nor make display of extravagant accomplishment, but concentrate their energies on the one thing needful—the creation of form. Thus have they created the finest works of art that we possess.
Let no one imagine that representation is bad in itself; a realistic form may be as significant, in its place as part of the design, as an abstract. But if a representative form has value, it is as form, not as representation. The representative element in a work of art may or may not be harmful; always it is irrelevant. For, to appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs, no familiarity with its emotions. Art transports us from the world of man's activity to a world of aesthetic exaltation. For a moment we are shut off from human interests; our anticipations and memories are arrested; we are lifted above the stream of life. The pure mathematician rapt in his studies knows a state of mind which I take to be similar, if not identical. He feels an emotion for his speculations which arises from no perceived relation between them and the lives of men, but springs, inhuman or super-human, from the heart of an abstract science. I wonder, sometimes, whether the appreciators of art and of mathematical solutions are not even more closely allied. Before we feel an aesthetic emotion for a combination of forms, do we not perceive intellectually the rightness and necessity of the combination? If we do, it would explain the fact that passing rapidly through a room we recognise a picture to be good, although we cannot say that it has provoked much emotion. We seem to have recognised intellectually the rightness of its forms without staying to fix our attention, and collect, as it were, their emotional significance. If this were so, it would be permissible to inquire whether it was the forms themselves or our perception of their rightness and necessity that caused aesthetic emotion. But I do not think I need linger to discuss the matter here. I have been inquiring why certain combinations of forms move us; I should not have travelled by other roads had I enquired, instead, why certain combinations are perceived to be right and necessary, and why our perception of their rightness and necessity is moving. What I have to say is this: the rapt philosopher, and he who contemplates a work of art, inhabit a world with an intense and peculiar significance of its own; that significance is unrelated to the significance of life. In this world the emotions of life find no place. It is a world with emotions of its own.
To appreciate a work of art we need bring with us nothing but a sense of form and colour and a knowledge of three-dimensional space. That bit of knowledge, I admit, is essential to the appreciation of many great works, since many of the most moving forms ever created are in three dimensions. To see a cube or a rhomboid as a flat pattern is to lower its significance, and a sense of three-dimensional space is essential to the full appreciation of most architectural forms. Pictures which would be insignificant if we saw them as flat patterns are profoundly moving because, in fact, we see them as related planes. If the representation of three-dimensional space is to be called "representation," then I agree that there is one kind of representation which is not irrelevant. Also, I agree that along with our feeling for line and colour we must bring with us our knowledge of space if we are to make the most of every kind of form. Nevertheless, there are magnificent designs to an appreciation of which this knowledge is not necessary: so, though it is not irrelevant to the appreciation of some works of art it is not essential to the appreciation of all. What we must say is that the representation of three-dimensional space is neither irrelevant nor essential to all art, and that every other sort of representation is irrelevant.
That there is an irrelevant representative or descriptive element in many great works of art is not in the least surprising. Why it is not surprising I shall try to show elsewhere. Representation is not of necessity baneful, and highly realistic forms may be extremely significant. Very often, however, representation is a sign of weakness in an artist. A painter too feeble to create forms that provoke more than a little aesthetic emotion will try to eke that little out by suggesting the emotions of life. To evoke the emotions of life he must use representation. Thus a man will paint an execution, and, fearing to miss with his first barrel of significant form, will try to hit with his second by raising an emotion of fear or pity. But if in the artist an inclination to play upon the emotions of life is often the sign of a flickering inspiration, in the spectator a tendency to seek,