The contemporary movement has pushed simplification a great deal further than Manet and his friends pushed it, thereby distinguishing itself from anything we have seen since the twelfth century. Since the twelfth century, in sculpture and glass, the thirteenth, in painting and drawing, the drift has been towards realism and away from art. Now the essence of realism is detail. Since Zola, every novelist has known that nothing gives so imposing an air of reality as a mass of irrelevant facts, and very few have cared to give much else. Detail is the heart of realism, and the fatty degeneration of art. The tendency of the movement is to simplify away all this mess of detail which painters have introduced into pictures in order to state facts. But more than this was needed. There were irrelevancies introduced into pictures for other purposes than that of statement. There were the irrelevancies of technical swagger. Since the twelfth century there has been a steady elaboration of technical complexities. Writers with nothing to say soon come to regard the manipulation of words as an end in itself. So cooks without eggs might come to regard the ritual of omelette-making, the mixing of condiments, the chopping of herbs, the stoking of fires, and the shaping of white caps, as a fine art. As for the eggs,—why that's God business: and who wants omelettes when he can have cooking? The movement has simplified the batterie de cuisine. Nothing is to be left in a work of art which merely shows that the craftsman knows how to put it there.
Alas! It generally turns out that Life and Art are rather more complicated than we could wish; to understand exactly what is meant by simplification we must go deeper into the mysteries. It is easy to say eliminate irrelevant details. What details are not irrelevant? In a work of art nothing is relevant but what contributes to formal significance. Therefore all informatory matter is irrelevant and should be eliminated. But what most painters have to express can only be expressed in designs so complex and subtle that without some clue they would be almost unintelligible. For instance, there are many designs that can only be grasped by a spectator who looks at them from a particular point of view. Not every picture is as good seen upside down as upside up. To be sure, very sensitive people can always discover from the design itself how it should be viewed, and, without much difficulty, will place correctly a piece of lace or embroidery in which there is no informatory clue to guide them. Nevertheless, when an artist makes an intricate design it is tempting and, indeed, reasonable, for him to wish to provide a clue; and to do so he has only to work into his design some familiar object, a tree or a figure, and the business is done. Having established a number of extremely subtle relations between highly complex forms, he may ask himself whether anyone else will be able to appreciate them. Shall he not give a hint as to the nature of his organisation, and ease the way for our aesthetic emotions? If he give to his forms so much of the appearance of the forms of ordinary life that we shall at once refer them back to something we have already seen, shall we not grasp more easily their aesthetic relations in his design? Enter by the back-door representation in the quality of a clue to the nature of design. I have no objection to its presence. Only, if the representative element is not to ruin the picture as a work of art, it must be fused into the design. It must do double duty; as well as giving information, it must create aesthetic emotion. It must be simplified into significant form.
Let us make no mistake about this. To help the spectator to appreciate our design we have introduced into our picture a representative or cognitive element. This element has nothing whatever to do with art. The recognition of a correspondence between the forms of a work of art and the familiar forms of life cannot possibly provoke aesthetic emotion. Only significant form can do that. Of course realistic forms may be aesthetically significant, and out of them an artist may create a superb work of art, but it is with their aesthetic and not with their cognitive value that we shall then be concerned. We shall treat them as though they were not representative of anything. The cognitive or representative element in a work of art can be useful as a means to the perception of formal relations and in no other way. It is valuable to the spectator, but it is of no value to the work of art; or rather it is valuable to the work of art as an ear-trumpet is valuable to one who would converse with the deaf: the speaker could do as well without it, the listener could not. The representative element may help the spectator; it can do the picture no good and it may do harm. It may ruin the design; that is to say, it may deprive the picture of its value as a whole; and it is as a whole, as an organisation of forms, that a work of art provokes the most tremendous emotions.
From the point of view of the spectator the Post-Impressionists have been particularly happy in their simplification. As we know, a design can be composed just as well of realistic forms as of invented; but a fine design composed of realistic forms runs a great risk of being aesthetically underrated. We are so immediately struck by the representative element that the formal significance passes us by. It is very hard at first sight to appreciate the design of a picture by a highly realistic artist—Ingres, for instance; our aesthetic emotions are overlaid by our human curiosity. We do not see the figures as forms, because we immediately think of them as people. On the other hand, a design composed of purely imaginary forms, without any cognitive clue (say a Persian carpet), if it be at all elaborate and intricate, is apt to non-plus the less sensitive spectators. Post-Impressionists, by employing forms sufficiently distorted to disconcert and baffle human interest and curiosity yet sufficiently representative to call immediate attention to the nature of the design, have found a short way to our aesthetic emotions. This does not make Post-Impressionist pictures better or worse than others; it makes them more easily appreciable as works of art. Probably it will always be difficult for the mass of men to consider pictures as works of art, but it will be less difficult for them so to consider Post-Impressionist than realistic pictures; while, if they ceased to consider objects unprovided with representative clues (e.g. some oriental textiles) as historical monuments, they would find it very difficult to consider them at all.
To assure his design, the artist makes it his first care to simplify. But mere simplification, the elimination of detail, is not enough. The informatory forms that remain have got to be made significant. The representative element, if it is not to injure the design, must become a part of it; besides giving information it has got to provoke aesthetic emotion. That is where symbolism fails. The symbolist eliminates, but does not assimilate. His symbols, as a rule, are not significant forms, but formal intelligencers. They are not integral parts of a plastic conception, but intellectual abbreviations. They are not informed by the artist's emotion, they are invented by his intellect. They are dead matter in a living organism. They are rigid and tight because they are not traversed by the rhythm of the design. The explanatory legends that illustrators used to produce from the mouths of their characters are not more foreign to visual art than the symbolic forms with which many able draughtsmen have ruined their designs. In the famous "Melancholia," and, to some extent, in a few other engravings—"St. Eustace," for instance, and "The Virgin and Child" (B. 34. British Museum),—Dürer has managed to convert a mass of detail into tolerably significant form; but in the greater part of his work (e.g. "The Knight," "St. Jerome") fine conception is hopelessly ruined by a mass of undigested symbolism.
Every form in a work of art has, then, to be made aesthetically significant; also every form has to be made a part of a significant whole. For, as generally happens, the value of the parts combined into a whole is far greater than the value of the sum of the parts. This organisation of forms into a significant whole is called Design; and an insistence—an exaggerated insistence some will say—on design is the fourth characteristic of the Contemporary Movement. This insistence, this conviction that a work should not be good on the whole, but as a whole, is, no doubt, in part a reaction from the rather too easy virtue of some of the Impressionists, who were content to cover their canvases with charming forms and colours, not caring overmuch whether or how they were co-ordinated. Certainly this was a weakness in Impressionism—though by no means in all the Impressionist masters—for it is certain that the profoundest emotions are provoked by significant combinations of significant forms. Also, it seems certain that only in these organised combinations can the artist express himself completely.
It seems that an artist creates a good design when, having been possessed by a real emotional conception, he is able to hold and translate it. We all agree, I think, that till the artist has had his moment of emotional vision there can be no very considerable work of art; but, the vision seen and felt, it still remains uncertain whether he has the force to hold and the skill to translate it. Of course the vast majority of pictures fail in design because they correspond to no emotional vision; but the interesting failures are those in which the vision came but was incompletely grasped. The painters who have failed for want of technical skill to set down what they have felt and mastered could be counted on the fingers of one hand—if, indeed, there are any to be counted. But on all sides we see interesting pictures in which the holes in the artist's conception are obvious. The vision was once perfect, but it cannot be recaptured. The rapture will not return. The supreme creative power is wanting. There are holes, and they have to be filled with putty. Putty we all know when we see it—when we feel it. It is dead matter—literal transcriptions from nature, intellectual machinery, forms that correspond with nothing that was apprehended emotionally, forms unfired with the rhythm that thrilled through the first vision of a significant whole.
There is an absolute necessity about a good design arising, I imagine, from the fact that the nature of each form and its relation to all the other forms is determined by the artist's need of expressing exactly what he felt. Of course, a perfect correspondence between expression and conception may not be established at the first or the second attempt. But if the work is to be a success there will come a moment in which the artist will be able to hold and express completely his hour or minute of inspiration. If that moment does not come the design will lack necessity. For though an artist's aesthetic sense enables him, as we shall see, to say whether a design is right or wrong, only this masterful power of seizing and holding his vision enables him to make it right. A bad design lacks cohesion; a good design possesses it; if I conjecture that the secret of cohesion is the complete realisation of that thrill which comes to an artist when he conceives his work as a whole, I shall not forget that it is a conjecture. But it is not conjecture to say that when we call a design good we mean that, as a whole, it provokes aesthetic emotion, and that a bad design is a congeries of lines and colours, individually satisfactory perhaps, but as a whole unmoving.
For, ultimately, the spectator can determine whether a design is good or bad only by discovering whether or no it moves him. Having made that discovery he can go on to criticise in detail; but the beginning of all aesthetic judgment and all criticism is emotion. It is after I have been left cold that I begin to notice that defective organisation of forms which I call bad design. And here, in my judgments about particular designs, I am still on pretty sure ground: it is only when I attempt to account for the moving power of certain combinations that I get into the world of conjecture. Nevertheless, I believe that mine are no bad guesses at truth, and that on the same hypothesis we can account for the difference between good and bad drawing.
Design is the organisation of forms: drawing is the shaping of the forms themselves. Clearly there is a point at which the two commingle, but that is a matter of no present importance. When I say that drawing is bad, I mean that I am not moved by the contours of the forms that make up the work of art. The causes of bad drawing and bad design I believe to be similar. A form is badly drawn when it does not correspond with a part of an emotional conception. The shape of every form in a work of art should be imposed on the artist by his inspiration. The hand of the artist, I believe, must be guided by the necessity of expressing something he has felt not only intensely but definitely. The artist must know what he is about, and what he is about must be, if I am right, the translation into material form of something that he felt in a spasm of ecstasy. Therefore, shapes that merely fill gaps will be ill-drawn. Forms that are not dictated by any emotional necessity, forms that state facts, forms that are the consequences of a theory of draughtsmanship, imitations of natural objects or of the forms of other works of art, forms that exist merely to fill spaces—padding in fact,—all these are worthless. Good drawing must be inspired, it must be the natural manifestation of that thrill which accompanies the passionate apprehension of form.