And I’m afraid ‘æsthetic ecstasy’ sounds to me very much the same, especially when accompanied by exhortations. It so sounds like another great uplift into self-importance, another apotheosis of personal conceit; especially when accompanied by a lot of jargon about the pure world of reality existing behind the veil of this vulgar world of accepted appearances, and of the entry of the elect through the doorway of visual art. Too evangelical altogether, too much chapel and Primitive Methodist, too obvious a trick for advertising one’s own self-glorification. The ego, as an American says, shuts itself up and paints the inside of the walls sky-blue, and thinks it is in heaven.
And then the great symbols of this salvation. When the evangelical says: Behold the lamb of God! – what on earth does he want one to behold? Are we invited to look at a lamb, with woolly, muttony appearance, frisking and making its little pills? Awfully nice, but what has it got to do with God or my soul? Or the cross? What do they expect us to see in the cross? A sort of gallows? Or the mark we use to cancel a mistake? – cross it out! That the cross by itself was supposed to mean something always mystified me. The same with the Blood of the Lamb. – Washed in the Blood of the Lamb! always seemed to me an extremely unpleasant suggestion. And when Jerome says: He who has once washed in the blood of Jesus need never wash again! – I feel like taking a hot bath at once, to wash off even the suggestion.
And I find myself equally mystified by the cant phrases like Significant Form and Pure Form. They are as mysterious to me as the Cross and the Blood of the Lamb. They are just the magic jargon of invocation, nothing else. If you want to invoke an æsthetic ecstasy, stand in front of a Matisse and whisper fervently under your breath: ‘Significant Form! Significant Form!’ – and it will come. It sounds to me like a form of masturbation, an attempt to make the body react to some cerebral formula.
No, I am afraid modern criticism has done altogether too much for modern art. If painting survives this outburst of ecstatic evangelicism, which it will, it is because people do come to their senses, even after the silliest vogue.
And so we can return to modern French painting, without having to quake before the bogy, or the Holy Ghost of Significant Form: a bogy which doesn’t exist if we don’t mind leaving aside our self-importance when we look at a picture.
The actual fact is that in Cézanne modern French art made its first tiny step back to real substance, to objective substance, if we may call it so. Van Gogh’s earth was still subjective earth, himself projected into the earth. But Cézanne’s apples are a real attempt to let the apple exist in its own separate entity, without transfusing it with personal emotion. Cézanne’s great effort was, as it were, to shove the apple away from him, and let it live of itself. It seems a small thing to do: yet it is the first real sign that man has made for several thousands of years that he is willing to admit that matter actually exists. Strange as it may seem, for thousands of years, in short, ever since the mythological ‘Fall,’ man has been preoccupied with the constant preoccupation of the denial of the existence of matter, and the proof that matter is only a form of spirit. And then, the moment it is done, and we realize finally that matter is only a form of energy, whatever that may be, in the same instant matter rises up and hits us over the head and makes us realize that it exists absolutely, since it is compact energy itself.
Cézanne felt it in paint, when he felt for the apple. Suddenly he felt the tyranny of mind, the white, worn-out arrogance of the spirit, the mental consciousness, the enclosed ego in its sky-blue heaven self-painted. He felt the sky-blue prison. And a great conflict started inside him. He was dominated by his old mental consciousness, but he wanted terribly to escape the domination. He wanted to express what he suddenly, convulsedly knew! the existence of matter. He terribly wanted to paint the real existence of the body, to make it artistically palpable. But he couldn’t. He hadn’t got there yet. And it was the torture of his life. He wanted to be himself in his own procreative body – and he couldn’t. He was, like all the rest of us, so intensely and exclusively a mental creature, or a spiritual creature, or an egoist, that he could no longer identify himself with his intuitive body. He wanted to, terribly. At first he determined to do it by sheer bravado and braggadocio. But no good; it couldn’t be done that way. He had, as one critic says, to become humble. But it wasn’t a question of becoming humble. It was a question of abandoning his cerebral conceit and his ‘willed ambition’ and coming down to brass tacks. Poor Cézanne, there he is in his self-portraits, even the early showy ones, peeping out like a mouse and saying: I am a man of flesh, am I not? For he was not quite, as none of us are. The man of flesh has been slowly destroyed through centuries, to give place to the man of spirit, the mental man, the ego, the self-conscious I. And in his artistic soul Cézanne knew it, and wanted to rise in the flesh. He couldn’t do it, and it embittered him. Yet, with his apple, he did shove the stone from the door of the tomb.
He wanted to be a man of flesh, a real man: to get out of the sky-blue prison into real air. He wanted to live, really live in the body, to know the world through his instincts and his intuitions, and to be himself in his procreative blood, not in his mere mind and spirit. He wanted it, he wanted it terribly. And whenever he tried, his mental consciousness, like a cheap fiend, interfered. If he wanted to paint a woman, his mental consciousness simply overpowered him and wouldn’t let him paint the woman of flesh, the first Eve who lived before any of the fig-leaf nonsense. He couldn’t do it. If he wanted to paint people intuitively and instinctively, he couldn’t do it. His mental concepts shoved in front, and these he wouldn’t paint – mere representations of what the mind accepts, not what the intuitions gather – and they, his mental concepts, wouldn’t let him paint from intuition; they shoved in between all the time, so he painted his conflict and his failure, and the result is almost ridiculous.
Woman he was not allowed to know by intuition; his mental self, his ego, that bloodless fiend, forbade him. Man, other men, he was likewise not allowed to know – except by a few, few touches. The earth likewise he was not allowed to know: his landscapes are mostly acts of rebellion against the mental concept of landscape. After a fight tooth-and-nail for forty years, he did succeed in knowing an apple, fully; and, not quite as fully, a jug or two. That was all he achieved.
It seems little, and he died embittered. But it is the first step that counts, and Cézanne’s apple is a great deal, more than Plato’s Idea. Cézanne’s apple rolled the stone from the mouth of the tomb, and if poor Cézanne couldn’t unwind himself from his cerements and mental winding-sheet, but had to lie still in the tomb, till he died, still he gave us a chance.
The history of our era is the nauseating and repulsive history of the crucifixion of the procreative body for the glorification of the spirit, the mental consciousness. Plato was an arch-priest of this crucifixion. Art, that handmaid, humbly and honestly served the vile deed, through three thousand years at least. The Renaissance put the spear through the side of the already crucified body, and syphilis put poison into the wound made by the imaginative spear. It took still three hundred years for the body to finish: but in the eighteenth century it became a corpse, a corpse with an abnormally active mind: and today it stinketh.
We, dear reader, you and I, we were born corpses, and we are corpses. I doubt if there is even one of us who has ever known so much as an apple, a whole apple. All we know is shadows, even of apples. Shadows of everything, of the whole world, shadows even of ourselves. We are inside the tomb, and the tomb is wide and shadowy like hell, even if sky-blue by optimistic paint, so we think it is all the world. But our world is a wide tomb full of ghosts, replicas. We are all spectres, we have not been able to touch even so much as an apple. Spectres we are to one another. Spectre you are to me, spectre I am to you. Shadow you are even to yourself. And by shadow I mean idea, concept, the abstracted reality, the ego. We are not solid. We don’t live in the flesh. Our instincts and intuitions are dead, we live wound round with the winding-sheet of
abstraction. And the touch of anything solid hurts us. For our instincts and intuitions, which are our feelers of touch and knowing through touch, they are dead, amputated. We walk and talk and eat and copulate and laugh and evacuate wrapped in our winding-sheets, all the time wrapped in our winding-sheets.
So that Cézanne’s apple hurts. It made people shout with pain. And it was not till his followers had turned him again into an abstraction that he was ever accepted. Then the critics stepped forth and abstracted his good apple into Significant Form, and henceforth Cézanne was saved. Saved for democracy. Put safely in the tomb again, and the stone rolled back. The resurrection was postponed once more.
As the resurrection will be postponed ad infinitum by the good bourgeois corpses in their cultured winding-sheets. They will run up a chapel to the risen body, even if it is only an apple, and kill it on the spot. They are wide awake, are the corpses, on the alert. And a poor mouse of a Cézanne is alone in the years. Who else shows a spark of awakening life, in our marvellous civilized cemetery? All is dead, and dead breath preaching with phosphorescent effulgence about æsthetic ecstasy and Significant Form. If only the dead would bury their dead. But the dead are not dead for nothing. Who buries his own sort? The dead are cunning and alert to pounce on any spark of life and bury it, even as they have already buried Cézanne’s apple and put up to it a white tombstone of Significant Form.
For who of Cézanne’s followers does anything but follow at the triumphant funeral of Cézanne’s achievement? They follow him in order to bury him, and they succeed. Cézanne is deeply buried under all the Matisses and Vlamincks of his following, while the critics read the funeral homily.
It is quite easy to accept Matisse and Vlaminck and Friesz and all the rest. They are just Cézanne abstracted again. They are all just tricksters, even if clever ones. They are all mental, mental, egoists, egoists, egoists. And therefore they are all acceptable now to the enlightened corpses of connoisseurs. You needn’t be afraid of Matisse and Vlaminck and the rest. They will never give your corpse-anatomy a jar. They are just shadows, minds mountebanking and playing charades on canvas. They may be quite amusing charades, and I am all for the mountebank. But of course it is all games inside the cemetery, played by corpses and hommes d’esprit, even femmes d’esprit, like Mademoiselle Laurencin. As for l’esprit, said Cézanne, I don’t give a fart for it. Perhaps not! But the connoisseurs will give large sums of money. Trust the dead to pay for their amusement, when the amusement is deadly!
The most interesting figure in modern art, and the only really interesting figure, is Cézanne: and that, not so much because of his achievement as because of his struggle. Cézanne was born at Aix in Provence in 1839: small, timorous, yet sometimes bantam defiant, sensitive, full of grand ambition, yet ruled still deeper by a naïve, Mediterranean sense of truth or reality, imagination, call it what you will. He is not a big figure. Yet his struggle is truly heroic. He was a bourgeois, and one must never forget it. He had a moderate bourgeois income. But a bourgeois in Provence is much more real and human than a bourgeois in Normandy. He is much nearer the actual people, and the actual people are much less subdued by awe of his respectable bourgeois money.
Cézanne was naïve to a degree, but not a fool. He was rather insignificant, and grandeur impressed him terribly. Yet still stronger in him was the little flame of life where he felt things to be true. He didn’t betray himself in order to get success, because he couldn’t: to his nature it was impossible: he was too pure to be able to betray his own small real flame for immediate rewards. Perhaps that is the best one can say of a man, and it puts Cézanne, small and insignificant as he is, among the heroes. He would not abandon his own vital imagination.
He was terribly impressed by physical splendour and flamboyancy, as people usually are in the lands of the sun. He admired terribly the splendid virtuosity of Paul Veronese and Tintoretto, and even of later and less good baroque painters. He wanted to be like that – terribly he wanted it. And he tried very, very hard, with bitter effort. And he always failed. It is a cant phrase with the critics to say ‘he couldn’t draw.’ Mr Fry says: ‘With all his rare endowments, he happened to lack the comparatively common gift of illustration, the gift that any draughtsman for the illustrated papers learns in a school of commercial art.’
Now this sentence gives away at once the hollowness of modern criticism. In the first place, can one learn a ‘gift’ in a school of commercial art, or anywhere else? A gift surely is given, we tacitly assume, by God or Nature or whatever higher power we hold responsible for the things we have no choice in.
Was, then, Cézanne devoid of this gift? Was he simply incapable of drawing a cat so that it would look like a cat? Nonsense! Cézanne’s work is full of accurate drawing. His more trivial pictures, suggesting copies from other masters, are perfectly well drawn – that is, conventionally: so are some of the landscapes, so even is that portrait of M. Geffroy and his books, which is, or was, so famous. Why these cant phrases about not being able to draw? Of course Cézanne could draw, as well as anybody else. And he had learned everything that was necessary in the art-schools.
He could draw. And yet, in his terrifically earnest compositions in the late Renaissance or baroque manner, he drew so badly. Why? Not because he couldn’t. And not because he was sacrificing ‘significant form’ to ‘insignificant form,’ or mere slick representation, which is apparently what artists themselves mean when they talk about drawing. Cézanne knew all about drawing: and he surely knew as much as his critics do about significant form. Yet he neither succeeded in drawing so that things looked right, nor combining his shapes so that he achieved real form. He just failed.
He failed, where one of his little slick successors would have succeeded with one eye shut. And why? Why did Cézanne fail in his early pictures? Answer that, and you’ll know a little better what art is. He didn’t fail because he understood nothing about drawing or significant form or æsthetic ecstasy. He knew about them all, and didn’t give a spit for them.
Cézanne failed in his earlier pictures because he was trying with his mental consciousness to do something which his living Provençal body didn’t want to do, or couldn’t do. He terribly wanted to do something grand and voluptuous and sensuously satisfying, in the Tintoretto manner. Mr Fry calls that his ‘willed ambition,’ which is a good phrase, and says he had to learn humility, which is a bad phrase.
The ‘willed ambition’ was more than a mere willed ambition – it was a genuine desire. But it was a desire that thought it would be satisfied by ready-made baroque expressions, whereas it needed to achieve a whole new marriage of mind and matter. If we believed in reincarnation, then we should have to believe that after a certain number of new incarnations into the body of an artist, the soul of Cézanne would produce grand and voluptuous and sensually rich pictures – but not at all in the baroque manner. Because the pictures he actually did produce with undeniable success are the first steps in that direction, sensual and rich, with not the slightest hint of baroque, but new, the man’s new grasp of substantial reality.
There was, then, a certain discrepancy between Cézanne’s notion of what he wanted to produce, and his other, intuitive knowledge of what he could produce. For whereas the mind works in possibilities, the intuitions work in actualities, and what you intuitively desire, that is possible to you. Whereas what you mentally or ‘consciously’ desire is nine times out of ten impossible: hitch your wagon to a star, and you’ll just stay where you are.
So the conflict, as usual, was not between the artist and his medium, but between the artist’s mind and the artist’s intuition and instinct. And what Cézanne had to learn was not humility – cant word! – but honesty, honesty with himself. It was not a question of any gift or significant form or æsthetic ecstasy: it was a question of Cézanne being himself, just Cézanne. And when Cézanne is himself he is not Tintoretto, nor Veronese, nor anything baroque at all. Yet he is something physical, and even sensual: qualities which he ha
d identified with the masters of virtuosity.
In passing, if we think of Henri Matisse, a real virtuoso, and imagine him possessed with a ‘willed ambition’ to paint grand and flamboyant baroque pictures, then we know at once that he would not have to ‘humble’ himself at all, but that he would start in and paint with great success grand and flamboyant modern-baroque pictures. He would succeed because he has the gift of virtuosity. And the gift of virtuosity simply means that you don’t have to humble yourself, or even be honest with yourself, because you are a clever mental creature who is capable at will of making the intuitions and instincts subserve some mental concept: in short, you can prostitute your body to your mind, your instincts and intuitions you can prostitute to your ‘willed ambition,’ in a sort of masturbation process, and you can produce the impotent glories of virtuosity. But Veronese and Tintoretto are real painters; they are not mere virtuosi, as some of the later men are.
The point is very important. Any creative act occupies the whole consciousness of a man. This is true of the great discoveries of science as well as of art. The truly great discoveries of science and real works of art are made by the whole consciousness of man working together in unison and oneness: instinct, intuition, mind, intellect all fused into one complete consciousness, and grasping what we may call a complete truth, or a complete vision, a complete revelation in sound. A discovery, artistic or otherwise, may be more or less intuitional, more or less mental; but intuition will have entered into it, and mind will have entered too. The whole consciousness is concerned in every case. – And a painting requires the activity of the whole imagination, for it is made of imagery, and the imagination is that form of complete consciousness in which predominates the intuitive awareness of forms, images, the physical awareness.
Life with a Capital L Page 40
