Contents -Volume INDEX -AUTHOR INDEX -BIBLIOGRAPHIC RECORD

Stedman and Hutchinson, comps. A Library of American Literature:
An Anthology in Eleven Volumes. 1891.
Vols. IX–XI: Literature of the Republic, Part IV., 1861–1889

Art

By Ralph Waldo Emerson (1803–1882)

THE OFFICE of painting and sculpture seems to be merely initial. The best pictures can easily tell us their last secret. The best pictures are rude draughts of a few of the miraculous dots and lines and dyes which make up the ever-changing “landscape with figures” amidst which we dwell. Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness, to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and, as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms. If he can draw everything, why draw anything? and then is my eye opened to the eternal picture which nature paints in the street with moving men and children, beggars, and fine ladies, draped in red, and green, and blue, and gray; long-haired, grizzled, white-faced, black-faced, wrinkled, giant, dwarf, expanded, elfish,—capped and based by heaven, earth, and sea.

A gallery of sculpture teaches more austerely the same lesson. As picture teaches the coloring, so sculpture the anatomy of form. When I have seen fine statues, and afterwards enter a public assembly, I understand well what he meant who said, “When I have been reading Homer, all men look like giants.” I too see that painting and sculpture are gymnastics of the eye, its training to the niceties and curiosities of its function. There is no statue like this living man, with his infinite advantage over all ideal sculpture, of perpetual variety. What a gallery of art have I here! No mannerist made these varied groups and diverse original single figures. Here is the artist himself improvising, grim and glad, at his block. Now one thought strikes him, now another, and with each moment he alters the whole air, attitude, and expression of his clay. Away with your nonsense of oil and easels, of marble and chisels: except to open your eyes to the masteries of eternal art, they are hypocritical rubbish.

The reference of all production at last to an aboriginal Power explains the traits common to all works of the highest art,—that they are universally intelligible; that they restore to us the simplest states of mind; and are religious. Since what skill is therein shown is the reappearance of the original soul, a jet of pure light, it should produce a similar impression to that made by natural objects. In happy hours, nature appears to us one with art; art perfected,—the work of genius. And the individual, in whom simple tastes and susceptibility to all the great human influences overpower the accidents of a local and special culture, is the best critic of art. Though we travel the world over to find the beautiful, we must carry it with us, or we find it not. The best of beauty is a finer charm than skill in surfaces, in outlines, or rules of art can ever teach, namely, a radiation from the work of art of human character,—a wonderful expression through stone, or canvas, or musical sound, of the deepest and simplest attributes of our nature, and therefore most intelligible at last to those souls which have these attributes. In the sculptures of the Greeks, in the masonry of the Romans, and in the pictures of the Tuscan and Venetian masters, the highest charm is the universal language they speak. A confession of moral nature, of purity, love, and hope, breathes from them all. That which we carry to them, the same we bring back more fairly illustrated in the memory. The traveller who visits the Vatican, and passes from chamber to chamber through galleries of statues, vases, sarcophagi, and candelabra, through all forms of beauty, cut in the richest materials, is in danger of forgetting the simplicity of the principles out of which they all sprung, and that they had their origin from thoughts and laws in his own breast. He studies the technical rules on these wonderful remains, but forgets that these works were not always thus constellated; that they are the contributions of many ages and many countries; that each came out of the solitary workshop of one artist, who toiled perhaps in ignorance of the existence of other sculpture, created his work without other model, save life, household life, and the sweet and smart of personal relations, of beating hearts, and meeting eyes, of poverty, and necessity, and hope, and fear. These were his inspirations, and these are the effects he carries home to your heart and mind.

1841.