Modern Painting

by George Moore

In the report of the meeting before me a certain alderman seems to have been as garrulous as he was irrepressible. He not only spoke at greater length than the rest of the councillors put together, but did not hesitate to frequently interrupt the members of the committee with remarks. Speaking of pictures by Millais, Holman Hunt, and Rossetti, he said:—"We have had exhibitions, and the works of these great artists were at various times closely scrutinised, and they had borne the most careful scrutiny that could be directed to them. Now I defy you to take a number of pictures such as those in dispute, and do the same with them." No one could have spoken the words I have quoted who was not absolutely ignorant of the art of painting. Imagine the poor alderman going round, magnifying-glass in hand, subjecting Millais and Holman Hunt to the closest scrutiny. And how easy it is to determine what was passing in his mind during the examination of the Glasgow school! "I can't see where this foot finishes; the painter was not able to draw it, so he covered it up with a shadow. In the pictures of that fellow Guthrie the grass is merely a tint of green, whereas in the 'Shadow of the Cross' I can count all the shavings."

But we will not seek to penetrate further into this very alderman-like mind. He declared that the Glasgow school of painting was "no more in comparison to what they recognised as a school of painting than a charity school was to the University of Oxford." I am sorry our alderman did not say what was the school of painting that he and his fellow-aldermen admired. In the absence of any precise information on the point I will venture to suggest that the school they recognise is the school of Bartlett and Solomon. The gallery possesses two large works by these masters—the Gondoliers, and the great picture of Samson, which fills an entire end of one room. But what would be of still greater interest would be to hear our alderman explain what he meant by this astonishing sentence:—"The only motive of Mr. Hornel's picture is a mode of art or rather artifice, in introducing a number of colours with the idea of making them harmonise; and this could be done, and had been done, by means of the palette-knife."

I have not the least idea what this means, but I am none the less interested. For, although void of sense, the alderman's words allow me to look down a long line of illustrious ancestry—Prud'homme, Chadband, Stiggins, Phillion, the apothecary Homais in "Madame Bovary". After passing through numerous transformations, an eternal idea at last incarnates itself in a final form. How splendid our alderman is! Never did a corporation produce so fine a flower. He is sententious, he is artistic. And how he lets fall from his thick lips those scraps of art-jargon which he picked up in the studio where he sat for his portrait! He is moral; he thinks that nude figures should not be sanctioned by the corporation; he believes in the Bank, and proposes the Queen's health as if he were fulfilling an important duty; he goes to the Academy, and dictates the aestheticism of his native town. There he is, his hand in his white waistcoat, in the pose chosen for the presentation portrait, at the moment when he delivered himself of his famous apophthegm, "When the nude comes into art, art flies out of the window."

The alderman is the reef which for the last five-and-twenty years has done so much to ruin and to wreck every artistic movement which the enthusiasm and intelligence of individuals have set on foot. The mere checking of the obstruction of the individual will not suffice; other aldermen will arise—equally ignorant, equally talkative, equally obstructive. And until the race is relegated to its proper function, bimetallism and sewage, the incidents I have described will happen again and again.

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A marvellous accident that it should have come to be believed that a corporation could edit a picture gallery! Whence did the belief originate? whence did it spring? and in what fancied substance of fact did it catch root? A tapeworm-like notion—come we know not whence, nor how. And it has thriven unobserved, though signs of its presence stare plainly enough in the pallid face of the wretched gallery. Curious it is that it should have remained undetected so long; curious, indeed, it is that straying thought should have led no one to remember that every great art collection of the world has grown out of an individual intelligence. Collections have been worthily continued, but each successive growth has risen in obedience to the will of one supreme authority; and that it should have ever come to be believed that twenty aldermen, whose lives are mainly spent in considering bank-rates, bimetallism, and sewage, could collect pictures of permanent value is on the face of it as wild a folly as ever tried the strength of the strait waistcoats of Hanwell or Bedlam. But as Manchester and Liverpool enjoy as fair a measure of sanity as the rest of the kingdom, we perforce must admit the theory of unconscious acceptation of a chance idea.

But I take it that what is essential in my argument is not to prove that aldermen know little about art, but that twenty men, wise or foolish, ignorant or learned, cannot edit a picture gallery. Proving the obvious is not an amusing task, but it is sometimes a necessary task. It may be thought, too, that I might be more brief; the elderly maxim about brevity being the soul of wit may be flung in my teeth. But lengthy discourse gives time for reflection, and I am seriously anxious that my readers should consider the question which these articles introduce. I believe it to be one of vital interest, reaching down a long range of consequences; and should these articles induce Manchester and Liverpool to place their galleries in the care of competent art-directors, I shall have rendered an incalculable service to English art. I say "competent art-directors", and I mean by "competent art-directors" men who will deem their mission to be a repudiation of the Anglo-French art fostered by the Academy—a return to a truer English tradition, and the giving to Manchester and Liverpool individual artistic aspiration and tendency.

Is the ambition of Manchester and Liverpool limited to paltry imitations of the Chantrey Fund collection? If they desire no more, it would serve no purpose to disturb the corporations in their management of the galleries. The corporations can do this better than any director. But if Manchester and Liverpool desire individual artistic life, if they wish to collect art that will attract visitors and contribute to their renown, they can only do this by the appointment of competent directors. For assurance on this point we have only to think what Sir Frederick Burton has done for the National Gallery, or what the late Mr. Doyle did for Dublin on the meagre grant of one thousand a year. It is the man and not the amount of money spent that counts. A born collector like the late Mr. Doyle can do more with a thousand a year than a corporation could do with a hundred thousand a year.

Nothing is of worth except individual passion; it is the one thing that achieves. And I know of no more intense passion—and, I will add, no more beautiful passion—than the passion for collecting works of art. Of all passions it is the purest. It matters little to the man possessed of it whether he collects for the State or for himself. The gallery is his child, and all his time and energy are given to the enrichment and service of his gallery. The gallery is his one thought. He will lie awake at night to better think out his plans for the capture of some treasure on which he has set his heart. He will get up in the middle of the night, and walk about the gallery, considering some project for improved arrangements. To realise the meaning of the passion for collecting, it is necessary to have known a real collector, and intimately, for collectors do not wear their hearts on their sleeve. With the indifferent they are indifferent; but they are quick to detect the one man or woman who sympathises, who understands; and they select with eagerness this one from the crowd. But perhaps the collector never really reveals himself except to a fellow-collector, and to appreciate the strength and humanity of the passion it is necessary to have seen Duret and Goncourt explaining a new Japanesery which one of them has just acquired.

The partial love which a corporation may feel for its collection is very different from the undivided strength of the collector's love of his gallery. And even if we were to admit the possibility of an ideal corporation consisting of men perfectly conversant with art, and animated with passion equal to the collector's passion, the history of its labour would still be written in the words "vexatious discussion and lost chances". The rule that no picture is to be purchased until it has been seen and approved of by the corporation forbids all extraordinary chances, and the unique and only moment is lost in foolish formulae. The machinery is too cumbersome; and chances of sale-rooms cannot be seized; it is instinct and not reason that decides the collector, and no dozen or twenty men can ever be got to immediately agree.