These early theories and conceptions with reference to art may in some degree account for the prevalence of an impression, even in our own time, that the artist is inspired or that he creates his masterpiece as the result of some supernatural power. It has always seemed to the inexperienced that the creation of a work of art implies an element of mystery or represents something inexplicable. What is to the painter a natural process becomes mysterious. Nothing existed on the blank canvas and behold, presently, there appears a picture simulating life. Having no knowledge of the methods employed, or of the years of patient labor required to secure the technical ability to represent the actual truth and spirit of natural objects, the result seems far removed from the ordinary. Thence it is but a step to the point of view that the artist is one “inspired.”
Although the conception of a work of art which places it above nature is very old, I do not recall a definition made under this impression which seems satisfactory. There is always apparent the effort to compromise or bring together two distinct conceptions—the one attributing to the work a quality superior to nature and the other demanding that it be a truthful representation of nature. Defining a work of art as something superior to nature, and at the same time insisting that it represent nature faithfully is an inconsistency eternally cropping out.
John Constable
John Constable touched this subject with remarkable acumen and expressed his conviction with precision when he said: “It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, as ‘the divine,’ ‘the inspired,’ and so forth. Yet, in reality what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects; the result, not of inspiration, but of long and patient study, under the direction of much good sense.”
This, then, is my argument: First, that art is the expression of supreme or predominant character and the representation of grace and harmony as these qualities exist in nature; and, second, that the truthful rendering of these qualities is the high mission of the painter and sculptor.
Evidence of Painters and Sculptors
If we will now turn to the evidence bearing upon this subject, we will discover what I have already indicated, namely, that the able artists who have expressed opinions touching the philosophy of their art have done so in no uncertain terms, and that the opinions which refer art to nature as the highest source seem convincing. We will also discover that not only do the majority of able painters agree upon what art really is, and express their opinions with clearness and precision, but that many of the philosophers of recent and ancient times define art in the same forceful way.