The Enjoyment of Art

by Carleton Eldredge Noyes

But what is the poor seeker after art to do? The case is by no means hopeless. In current exhibitions a few canvases strike a new note; and by senses delicately attuned this note can be distinguished within the jangle of far louder and popular tunes ground out, as it were, by the street-piano. Seriously to study contemporary painting, however, the logical opportunity is furnished by the exhibitions of the works of single men or of small groups. As the reader who wishes to understand an author or perhaps a school does not content himself with random extracts, but instead isolates the man for the moment and reads his work consecutively and one book in its relation to his others; so the student of pictures can appreciate the work and understand the significance of a given painter only as he sees a number of his canvases together and in relation. So, he is able to gather something of the man's total meaning.

Widely different from annual exhibitions, too, are galleries and museums; for here the proportion of really good things is immeasurably larger. In the study of masterpieces, it need hardly be said, the amateur may exercise judgment and moderation. He should not try to do too much at one time, for he can truly appreciate only as he enters fully into the spirit of the work and allows it to possess him. To achieve this sympathy and understanding within the same hour for more than a very few great works is manifestly impossible. Such appreciation involves fundamentally a quick sensitiveness to the appeal and the variously expressive power of color and line and form. To win from the picture its fullest meaning, the observer may bring to bear some knowledge of the artist who produced it and of the age and conditions in which he lived. But in the end he must surrender himself to the work of art, bringing to it his intellectual equipment, his store of sensuous and emotional experience, his entire power of being moved.

For when all is said, there is no single invariable standard by which to try a work of art: its significance to the appreciator rests upon his capacity at the moment to receive it. "A jest's prosperity lies in the ear of him that hears it." The appreciator need simply ask himself, "What has this work to reveal to me of beauty that I have not perceived for myself? I shall not look for the pretty and the agreeable. But what of new significance, energy, life, has this work to express to me? I will accept no man entirely and unquestioningly, I will condemn no one unheard. No man has the whole truth; every man has some measure of the truth, however small. Let it be my task to find it and to separate it from what is unessential and false. In my search for what is true, I will conserve my integrity and maintain my independence. And I shall recognize my own wherever I may find it."

"Man is the measure of all things," declared an ancient philosopher. And his teaching has not been superseded to-day. The individual is the creator of his own universe; he is the focus of the currents and forces of his world. The meaning of all things is subjective. So the measure of beauty in life for a man is determined by his capacity to receive and understand. Thus it is that a man's joy in experience and his appreciation of art in any of its manifestations are conditioned by the opportunity that nature or art furnishes for his spirit to exercise itself. In the reading of poetry, for example, we seek the expression of ourselves. Our first emotion is, perhaps, a simple, unreflecting delight, the delight which a butterfly must feel among the flowers or that of a child playing in the fields under the warm sun; it is a delight wholly physical,—pure sensation. A quick taking of the breath, the escape of a sigh, inarticulate and uncritical, are the only expression we can find at that instant for what we feel: as when an abrupt turn of the road spreads out before us a landscape of which we had not dreamed, or we enter for the first time the presence of the Apollo Belvedere. We know simply that we are pleased. But after nerves have ceased to tingle so acutely, we begin to think; and we seek to give account to ourselves of the beauty which for the moment we could but feel. Once arrived at the attitude of reflection, we find that the poetry which affects us most and to which we oftenest return is the poetry that contains the record of our own experience, but heightened, the poetry which expresses our desires and aspirations, that in which we recognize ourselves elevated and idealized. In so far as we see in it the ennobled image of our own nature, so far it has power to hold us and to stir us.

An elementary manifestation of the tendency to seek in art the record of our own experience is seen in the popularity of those pictures whose subjects are familiar and can be immediately recognized. On a studio wall was once hanging a "Study of Brush," showing the play of sunlight through quivering leaves. A visitor asked the painter why he did not put some chickens in the foreground. To her the canvas was meaningless, for she had never seen, had never really seen, the sunlight dancing on burnished leaves. The chickens, which she had seen and could recognize, were the element of the familiar she required in order to find any significance in the picture.

This tendency, of which the demand for chickens is a rudimentary manifestation, is the basis of all appreciation. The artist's revelation of the import of life we can receive and understand only as we have felt a little of that import for ourselves. Color is meaningless to a blind man, music does not exist for the deaf. To him who has never opened his eyes to behold the beauty of field and hill and trees and sky, to him whose spirit has not dimly apprehended something of that eternal significance of which these things are the material visible bodying forth, to such a the work of the master is only so much paint and canvas. The task of the appreciator, then, is to develop his capacity to receive and enjoy.

That capacity is to be trained by the exercise of itself. Each new harmony which he is enabled to perceive intensifies his power to feel and widens the range of his vision. The more beauty he apprehends in the world, so much the more of universal forces he brings into unity with his own personality. By this extension of his spirit he reaches out and becomes merged in the all-embracing life.

If the conception be true that a supreme unity, linking all seemingly chaotic details, ultimately brings them into order, and that this unity, which is spiritual, penetrates every atom of matter, fusing everything and making all things one; then the appreciator will realize that the significance of art is for the spirit The beauty which the artist reveals is but the harmony which underlies the universal order; and he in his turn must apprehend that beauty spiritually.

From this truth it follows that the condition of aesthetic enjoyment, or in other words the appreciation of beauty, is detachment of spirit and remoteness from practical consequences. The classic illustration of the truth is the saying of Lucretius, that it is sublime to stand on the shore and behold a shipwreck. It is sublime only as one's personal interests and feelings are not engaged. It would not be sublime if it were possible for the spectator to aid in averting the catastrophe; it would not be sublime if one's friends were aboard the ship. One is able to appreciate beauty only as one is able to detach one's self from what is immediate and practical, and by virtue of this detachment, to apprehend the spiritual significance. The sublimity of the shipwreck lies in what it expresses of the impersonal might of elemental forces and man's impotence in the struggle against nature. That sublimity, which is one manifestation of beauty, is of the spirit, and by the spirit it must be apprehended.

To illustrate this truth by a few homely examples. A farmer looking out on his fields of tossing wheat, drenched in golden sunlight, exclaims, "Look, isn't that beautiful!" What he really means is: "See there the promise of a rich harvest, and it is mine." If the fields belonged to his neighbor, his feelings towards them would be quite different. No, their beauty is to be seen and felt only by him whose mind is free of thoughts of personal enrichment and who thus can perceive the harmony with life of golden sunshine and nature's abundant gifts. The farmer could not see beyond the material and its value to him as material. But beauty lies deeper than that, for it is the expression of spiritual relations.