The Relation of Art to Nature - John Beatty

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to the work?

      It is also manifestly true that the greatness of a work of art must depend upon the mental power of the artist, that power which enables him to apprehend or discover the essential qualities existing in nature. It is equally true that every artist, even though wholly absorbed in the effort to reveal the truth and beauty which exist in nature, expresses in some degree his own personality. He does this inevitably, first, by the type of subject he chooses to study and represent, and, second, but in a less important degree, by the technical manner employed. This is, of course, well understood by every one. It is not for a moment disputed. But beyond and above this personal expression stands, as the chief and highest purpose of the artist, the representation of truth and character as these do actually exist.

      While the painter has used his art to record history, to tell stories, and to express emotions and convictions, his chief mission is to extract from nature her many beautiful forms and harmonies and to present these in pleasing fashion. In this way the artisan, drawing upon the great multitude of beautiful forms and colours exhibited by nature and so lavishly spread everywhere in the animal and plant creations, cunningly fashions patterns and combinations, weaving these into rugs and adapting them to the many beautiful objects with which we are familiar.

      Notwithstanding these accepted facts, I am convinced that the great works of the painter and sculptor, those of supreme importance, rest not upon any of these devices or expressions of art, but upon the faithful, unerring and masterly representation of character and beauty as these do actually exist. The masterpieces of art as they live today in the national art galleries of the world establish this fact. They seem to possess a common factor without regard to subject or period which unites in a common family the great paintings of the entire history of art. This factor I believe to be the quality of truth. These great works owe their existence to the fact that they faithfully represent some great outstanding type, or because they truthfully reveal the characteristic and essential beauty of nature expressed in one of her many moods. They are important just in proportion as their masters have understood these qualities and recorded their impressions on canvas and in marble.

      I know perfectly well that the opinion here expressed is not the one most widely accepted; it is not the popular view of art; it is not the view expressed by many writers upon this subject.

      The opinion most widely accepted is that the artist creates beauty; that in some mysterious way, by virtue of a special gift, he does actually evolve from within his own consciousness forms of grace and loveliness; that however deeply the artist sinks himself in nature, art yet remains intensely individual; that in representing nature he adds to that which he secures from nature a personal quality which becomes the most important part of the work. This is the theory of art accepted very generally, but it is not supported by evidence.

      The main purpose of this writing is, in fact, to establish by the evidence of the men who are quoted that their reliance has been solely upon nature and their success in exact proportion to their knowledge of nature and their ability to portray her predominant qualities. Let me repeat, however, that the ability to see and understand nature is dependent upon mental power. The man of limited mental power will see little; the one of great power will see much. The latter will apprehend the subtle, elusive qualities in a way impossible to the former. This, I know, is equivalent to saying that the great artist must bring to his task a great mind. This assumption is quite correct. A great mind is that power which is vaguely described as genius; it is what enables men to accomplish great things in every field of human endeavor. The question, therefore, is not whether the great artist possesses superior power, but rather how important are the inevitable traces of personal predilection or technical manner revealed in nearly all works of art as compared with the truthful presentation of the fundamental qualities the artist has discovered and undertaken to represent.

      Let us examine this phase of the question more fully. A painting by Corot for instance bears, first, the evidence of Corot’s choice of subject. That which appealed to him in nature he painted. The kind of thing he loved, the phase of nature he chose, unquestionably bore evidence of his personal temperament or predilection. By this he expressed his personal taste, his discriminating judgment, himself, in fact. If the artist be a man of gentle and sensitive quality, he will select for representation, as Corot did, a phase of nature which is in accord with his feeling.

      In the second place, a painting by Corot will exhibit in a very obvious way the manifest impress of the artist’s technical method. In fact, the manner by which the work is performed, that which is termed technic, the very manner in which the artist touches the canvas, becomes a distinguishing and individual characteristic intimately associated with the artist and easily recognized. However, the technical treatment is of little significance. It is in an important sense pure mannerism, often the result of habit or early professional training. In a limited sense it is the handwriting of the artist. This technical side of a painting, the obvious and superficial aspect, is, I am convinced, given by the amateur an importance out of all proportion to its value.

      We must, however, deal with this personal phase of a work of art. The question is how important is this personal expression as compared with the more profound truth of nature. If we may accept the testimony of the painters and sculptors who have produced enduring works of art, we will, I think, be convinced that this quality is not important when compared with essential truth or predominant character. The artists whose opinions you will read seem almost without exception to attach greater importance to the expression of the character of the person or object represented than to the expression of personal temperament. Indeed, they seem to be oblivious to the qualities which attract and occupy the attention of the writer and amateur, but they are insistent upon the paramount importance of truth.

      What this all-important quality is may be further explained by a simple illustration.

      Abraham Lincoln was an outstanding type. The painter or sculptor cannot by his art enhance either the beauty or strength of Lincoln’s character. The utmost he can hope to do is to realize that character in its richness and fullness of power. In everything the artist touches in his effort to reproduce this character his taste will be displayed, even in the treatment of details, the adjustment of draperies and accessories, the appropriateness of gesture or movement; but all these things, including the technic displayed, will be subordinate to Lincoln’s character. The great, outstanding, dominant character of Abraham Lincoln exists as a masterpiece of nature far outranking in perfection any description or portraiture. The man who best reads or comprehends this character and who most faithfully represents it, will produce the greatest work of art. In the effort to do this, the painter or sculptor will undoubtedly leave traces of his own individuality or temperament, but these qualities must not be confused with the dominant character of a Lincoln or given undue importance. The highest purpose of the artist is to faithfully represent character.

      Ancient Conceptions of Art

      Closely allied to the thought that the painter creates beauty is the ancient tradition that the artist is inspired to produce works of art. This conviction had its origin very early in the history of art. In the time of Praxiteles this belief was entertained by many; it was thought, for instance, that in the production of the Aphrodite of Knidos the sculptor was inspired by the goddess herself.

      This conception of art doubtless grew out of the fact that the early art of the Egyptians and Greeks was largely devoted to the representation of deities and to the erection of temples which should be their shrines. This association of art with the gods and their temples doubtless contributed to the belief that the artist was inspired or that he possessed a superior power or the gift of inspiration.

      Hegel

      Closely allied with this thought was the conception expressed by Hegel with reference to a distinction between the external and material forms of art and the spirit which he suggests permeates the work and of which it is a manifestation. Hegel, although accepting the theory that “art has the vocation of revealing the truth in the form of sensuous artistic shape,” speaks of the union of the material with the spiritual in a manner, which although quite true in abstract reasoning, contributes to this impression. Discussing Architecture as a Fine Art, he wrote: “The material of architecture is matter itself in its immediate externality as a heavy mass subject to mechanical laws, and its forms remain the forms of inorganic nature,

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