THE SPIRIT OF ART

New Zealand Herald, Volume LXIII, Issue 19292, 3 April 1926, Page 1 (Supplement)

THE SPIRIT OF ART

THE BELIEFS OF A MASTER

BY W. PAGE HOWE

The beautifully spontaneous discourse on art which some of us were privileged to hear from Sir Bertram Mackennal a few nights ago was very encouraging to such as aro keeping the lamp burning in this part of the world, and it was an education in tho best sense of tho word. I don't think that he began with any definite idea of what he was going to say to us. He certainly made 110 "speech" according to the usual use of that term. And yet he gave us a perfectly progressive unfolding of the real meaning and function of art. Himself possessed with the spirit of art, he took it for granted, as it were, and all that he said was, therefore, to the same end, breathing with tho same purpose. Being both a teacher and ono in authority ho posed as neither, but gave us of himself and took us into his confidence. So we were led and taught by ono who travelled with 1 us. He showed us tho sanity of art, and I gave 11s new courage to face its mysteries with a good heart. A devout worshipper, he did not surround the shrine with a cloud of ambiguous and high-flown sentiment. Above all he made it very plain that it is what a man does that is the measure of his belief. He did not startle us with the unexpected, but gave new focus to our vision and cleared tho air. llimst i a sculptor, like a true artist he does not limit his attention to that branch of art, and he spoke of painting and architecture, not as if they were things apart or but distantly related, but as members of tho same body, moving to tho same, purpose. It is not surprising to learn since that memorable occasion that the painter, the architect and tho layman, as well as the sculptor, had all come under the spell of a common revelation. The Emotional Origin of Art. There is a great deal of talking and writing continually being poured out which ostensibly deals with art, and which actually does nothing of tho sort. Ono has read many books of this kind which give tho historical facts quite fully and accurately—the various epochs and schools and so forth, which leave the reader in the dark as to what art really stands for, or, worse still, create the impression that it is all a matter of technical cleverness. lie who plunges into the literature of tho philosophy of art and tries to plough through it all will be more than likely to be seized with an intellectual cramp and be submerged in those stormy waters, and lie will get few glimpses of the living spirit of art. For it is born of the emotions and comes to us by the senses, and the light of leason alone will not lead us to it. As Professor Quiller Couch says with reference to writing, "Literature being literature, and philosophy philosophy, you can never understand or account for literature by considering it in terms of philosophy; that is, by being wise about it in a category to which it does not belong." It is this emotional origin of art win:h makes its appeal so universal, and a mar. may bo very ignorant of pnibsophy, logic, science, and yet instantly respond to the call of tho spirit of a:t. 1 think, by the way, that this is one reason why so many people suppose that they may quite reasonably pass judgment upon works of art without studying tho subject, because they aro dimly conscious that art inspiration is not founded on reason, but on tho emotions. This discourse pointed at once the fallacy of that attitudo and the better way. It is, after all, reasonable to suggest that as the production of a work of art involves deep study and untiring application it can scarcely be comprehended without some proportionate study of the conditions and fundamental laws under which it is produced. The man who mistakes a highlydeveloped sentimentality for intelligent appreciation is one of tho most troublesome bores the artist has to put. up with. Art is emotional expression "sublimated by instructed common sense.

The Melting Pot

Because of tho strong, faith that is in him, Sir' Bertram gavo us fresh courage with which to faco these troublous times. It was good to hear him say that although art was at present in the melting pot, he firmly believed that it would emerge the better for tho fire. Wo live in an age of scientific inquiry which has reached out to religion and art, to the dismay of the formalist votaries of both. Nevertheless, out of the more or less scientific experiments of, for instance, the Impressionists, much true art has been evolved which owes its fuller expression to tho discovery of View ways and means. As to Cubism, Vorticism and the rest, they are already passing out of court, because they insist on using a language which nobody understands, except, perhaps, themselves. Nevertheless each has had its germ of truth, however, much tho resulting growth has been distorted, and they will bo proved to have had their uses if for no other reason than that they have helped to shake up the art-world "from hardened and lifeless conventions.

The Imitation Heresy

The warning of authority against imitative "art" was good to hear. Sir Bertram said with great emphasis, " The great thing you ihuvo got to watch in this country is that art is not representation." No one could suspect so sano an artist of thoreforo arguing that the moro unliko tho object represented the better tho work of art, which is one of tho favourite dicta of the incompetent. His own work is always true to naturo, but as a means to a far higher end than that of this imitative jugglery which only too many people think to be the end of art. Ho made mention of the cult of tho "illustration picture" which for so long defaced tho walls of exhibitions and demoralised public taste, and lie would find that our own gallery, like most others, has not escaped tho infection. But lam quite sure that his outlook is far too sano to lead him to the other extreme of condemning every picture which "tells a story." Classic, religious or domestic narrative has furnished countless opportunities for the expression of genius in overy age, and often with the strictest adherenco to tho visual facts. But Jar from making them an end in themselves,' tho master has no other use for them except as tho vehicles for the artistic expression of his personality.

Official Omniscience.

Sir Bertram also referred to the sort of ipso facto omniscience of authorities, which not only gives the commission to tho artist, but also tells him how to set about it. Doubtless out of long and bitter experience ho said, " If only you could convince committees that it,is not their job to dosign." Finally Sir Bertram urged tho necessity for united action if art is to make good progress in Auckland. If over there was a word in season this is surely ono. Most branches of art aro already represented in our city by more or less activo organisations. Ono longs for the dawning of tho day when all shall awaken to tho truth that all are travelling the same road to the same goal, and shall therefore unite in strong and willing brotherhood to establish art in Auckland.