Essays on art

Preface

The name of Artist, as applied to Goethe, is familiar to all the world. This title was owing not so much to the artistic feeling and knowledge conspicuous in his great works, as to those admirable writings, in which the nature of Art, and its relations to Man and to Life, are developed. In fact, in his prose writings this subject is rarely forgotten, and if it shall seem to any one that an undue portion of his intellectual activity was devoted to its development, a careful study of his works will make it appear that Art is with him not a single side of humanity, but a medium for

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viewing all humanity, a core around which all knowledge, all experience, all science, all the ideal as well as all the practical of our nature, arrange themselves into one harmonious whole, which in the desultory acquirements of men so often stand in contradiction. It is in this view, that Art, as a part of cultivation, is deserving of that large place which he has given to it.

The present translation includes several of the most important of his essays upon this subject. As they have not, to my knowledge, appeared in English, a few words of introduction may not be out of place.

The first eight pieces are from Goethe's contributions to the Propylseum, a periodical paper, devoted to art. The ^'Introduction to the Propyleeum " may serve as a general introduction to our author's works on this subject, and will give an idea of the earnestness of his views, and the strictness of his requirements, where Art was in question.

The essay '' Upon the Laocoon," is at once

PREFACE. V

an admirable critique upon that group, and upon the whole ground of high art.

The ^^ Collector/' consists of a series of letters, giving a graceful picture of a society, where art, equally free from pedantry and dilettantism, is the main subject of interest. But the more serious object of the piece is to give an idea of the progress of art, to indicate clearly the elements necessary to its perfection, and to show how the true balance of these elements is to be attained. It contains a whole Philosophy of Art.

Passing over several smaller pieces, we come to the ^^ Pictures of Philostratus." This may be regarded, on the one hand, as the most perfect restoration that has ever been made of ancient pictorial art, and, on the other, as a series of illustrations of the principles laid down in the previous essays. It Avill be particularly valuable to the artist, as giving an idea of the principles to be observed in the choice and treatment of subjects of a high ideal nature.

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The other essays have all a bearing upon art, but do not call for remark, except that on Dilettantism, to which a short note is prefixed.

CONTENTS intrdoduction to the propyljium ... 1 upon truth and probability in works op art . 118

SIMPLE imitation OF NATURE, MANNER, STYLE , 132

PICTURES OF PHILOSTRATUS 137

APHORISMS, ETC. 225

HINTS TO YOUNG ARTISTS 330

Introduction To The Propyl^um

The youth, when he begins to feel the attraction of Nature and Art, believes that by an earnest effort he shall soon be able to pierce to the inmost sanctuary ; the man finds, after long wandering up and down, that he is still upon the threshold.

This consideration has been the occasion of our title ; the Step, the Door, the Entrance, the Ante-chamber, the space between the Inner and the Outer, the Sacred and the Profane, is the place we choose as a common ground of intercourse with our friends.

Neither will it be foreign to our object, if by this word PropylcBuniy the reader is reminded of that edifice, that led to the Citadel of Athens and the Temple of Minerva ; only let no one attribute to us the presumption of attempting here a like work of art and magnificence. By the name of the place, we would suggest to the reader's mind the things that were done there, and have him expect discussions and conversations that may perhaps not be unw^orthy of the scene.

Will not Thinkers, Scholars, Artists, be drawn to 1

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pass their best hours in such a scene; to dwell, in imagination at least, among a people who possessed by nature that perfection that we wish for and never attain; who, in a continued sequence of time and life, developed a culture in fair and constant succession, that appears, among us, only transitorily and piece-meal ?

What modern nation does not owe its artistic culture to the Greeks ? and in various ways, what nation more than the German ?

Thus much in explanation of our symbolic title, if indeed it be necessary. Let it stand as a memento that we are to depart as little as possible from classic ground. Let its brevity and significance inform those friends of art whom we hope to interest in the present work, that it is to contain the observations and reflections of a circle of harmoniously united friends upon Nature and Art.

He that is called to be an artist should constantly bear in mind, that he is to give all his attention to objects and their parts, and at the same time that he makes a practical application of such observations, will by degrees accustom himself to note more and more closely ; in the beginning of his course, he will do his best to make everything tell for his own advantage. Afterwards, he will be glad to impart to others ; and thus, it is now our purpose to relate and lay before our readers many things that we have noted down, under various circumstances, in past years, which we trust will be both useful and agreeable.

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But who is there that will not agree that pure observations are more rare than is generally believed? We are so ready to mix up our own imaginations, opinions, judgments, with what comes under our notice, that we do not long retain the quiet position of observers, but begin to make reflections, upon which we ought not to lay any weight, except so far as we can rely upon the culture and natural disposition of our minds.

We shall be inspired with stronger confidence in this matter, by the consideration of the harmonious relation in which we stand towards others ; by the knowledge that we are thinking and working not alone, but in common. The anxious doubt, whether our way of thinking is not peculiar to ourselves, which so often comes over us when we hear others express convictions directly the reverse of ours, will be softened, and by degrees disappear, when we find ourselves in company with others. Then we shall begin to step with confidence, and congratulate ourselves on the possession of principles verified by our own and others' long experience.

When several persons live together in friendly intercourse, at the same time that they have a common interest to advance their culture, and keep in view separate, closely united aims, they feel that they are coming in contact in the greatest possible variety of ways, and that even a direction that seems to lead to their separation, will soon happily reunite them.

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Who has not felt what profit, in such cases, results from conversation ? But conversation has no permanence ; and though we do not lose any portion of the results of a mutual interchange of acquisition, the memory of the means by which they were arrived at disappears.

The steps of such a common progress are better preserved by means of a correspondence by letter. Each moment of growth is thus fixed, and while our attainment gives us a feeling of satisfaction, we shall derive advantage from a backward look at the process of growth, which gives us 'reason to hope for ceaseless future progress.

Brief notes, in which we set down from time to time our thoughts, convictions, and wishes, in order to return and converse with ourselves after an interval of time, are also an excellent means of aiding our own culture, and that of others ; a means that no one should neglect, when we consider the short space of time allotted to life, and the many hindrances w^e meet with in the way of advancement.

It will be seen, that we are now speaking of an interchange of ideas among friends, who have a common aim of artistic and scientific cultivation At the same time, so great an advantage ought''not to be neglected in a life of action in the world.

But in matters of art and science, a limited connection of this sort is not sufficient ; to stand in some relation to the Public, is equally agreeable and necessary. Whatever a man does or thinks, of gen-

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eral concern, belongs to the world, which in time brings to maturity whatever it can appropriate of the efforts of individuals. The desire for applause which the writer feels, is an instinct that nature has implanted in him, to draw him on to something higher. He thinks he has achieved the laurel, but soon perceives that a more laborious cultivation of all his faculties is necessary, to hold fast the public favor, which through fortune and accident may be retained for a few short moments.

In early times, the writer perceived this significance in his relation to the public, and even in later days he cannot dispense with it. However little he may seem called to give instruction, he still feels the need of imparting to others with whom he has a sympathy, but who are scattered up and down in the world. He wishes by this means to renew his relations with old friends, to strengthen those friendships now existing, and to acquire others in the new generation for the remainder of his term of life. He wishes to spare the young those circuitous ways in which he wandered up and down, and whilst he observes and profits by the advantages of the present time, preserves the recollection of earlier and more meritorious endeavors.

Our little company has been formed with this earnest aim ; may a serene state of mind accompany our undertaking, and time discover whither we are bound.

The essays which we intend to publish, though

Introduction To The Propyl^um

the work of separate hands, will, we hope, never be found to stand in contradiction with each other, even when the ways of thinking of the authors are not altogether alike. No two men see the world just alike, and different characters will apply in different ways a principle that both equally acknowledge. Nay, the same man will often see and judge things differently. Early convictions must give way to more mature. May not the opinions that a man thinks and utters, be expected to stand all trials, if he keeps on his way, true to himself and others?

It is the wish and hope of the authors to remain in harmony with each other and a great portion of the public, yet they cannot conceal from themselves that many a discord will be heard from various quarters. This is the more to be expected, because they differ on more than one point from the received opinions. Far from wishing to reprobate or change another's way of thinking, we shall firmly utter our own opinions, and decline or accept the contest as circumstances dictate ; but we shall always hold by one creed, and insist perpetually upon those conditions that seem to us indispensable to the formation of an artist. He who has a thing in hand to do, must know how to take sides, or he is not worthy to work anywhere.

In promising to give observations and reflections upon Nature, we would premise that we have in mind such as relate particularly to the plastic arts, and art in general, and also to the general culture of the artist.

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The highest demand that can be made of the artist, is still this : — that he shall hold to Nature, study her, imitate her ; that he shall produce something resembling her manifestations.

How great, nay immense, this requirement is, we do not often consider ; and even the true artist becomes aware of it only by progressive cultivation. Nature and Art are divided by an enormous chasm, which genius itself, without outward assistance, would never be able to step over.

All that we see about us is only raw material ; and if it happen rarely enough that an artist succeeds, through instinct and taste, through practice and trial, in appropriating the outward beautiful side of objects, in choosing the best out of the good before him, and at least learns how to produce an agreeable appearance ; how much more rarely does it occur, especially in these later times, that the artist is able to penetrate into the depth of his own soul, as well as take the measure of outward objects, and thus, instead of producing works of a merely superficial effect, emulate nature herself, and create a spiritually organic whole, giving to his work an import and a form, that make it seem at once natural and supernatural.

Man is the highest, indeed the proper object of plastic art. An universal knowledge of organic nature is necessary in order to understand and develop him through the labyrinth of his structure. The artist ought also to be theoretically acquainted

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with the inorganic bodies, and the general operations of nature, especially such as can be applied to the purposes of art, as, for instance, Sound and Color. But what a circuit he must make if he were obliged laboriously to seek in the schools of the Anatomists, the Naturalists, and Physiologists, for what pertained to his aims ; nay, it is even a question whether he would learn the very things most important for him to know : these persons have too much to do to satisfy the demands of their own students, to be able to think of the limited and peculiar wants of the Artist. Here then we mean to step forward, and though we cannot expect to be able to carry out the necessary labors ourselves, it is our intention partly to give a general survey of the subject, and partly to lead the way to an examination of particulars.

The human form cannot be comprehended merely by the contemplation of its surface; the interior must be laid bare, the parts separated, their union considered, their differences known, action and counteraction studied, the concealed, the ground, the foundation' of the visible must be learned, if we would truly observe and imitate that which we see moving before our eyes in living waves as one beautiful, undivided whole. The view of the surface of a living body deceives the observer ; and we may here as elsewhere call to mind that true saying ; What man would see, he must first know. For as a short-sighted man sees an object more clearly when

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he is moving away, than when he first approaches it, because the intellectual vision comes now to his aid, so in knowledge lies the perfecting of sight. How admirably the student of Natural History, if he possesses at the same time a knowledge of drawing, is able to imitate objects, because he sees what is important and significant in the parts, out of which springs the character of the whole, and emphasizes it accordingly.

As a clear knowledge of the separate parts of the human form, which he is afterwards to consider again as a whole, is of the highest importance to the artist, so also a general view, a side look, at objects that stand in relation with it, is in a high degree useful, provided he is capable of rising to the contemplation of ideas, and of taking in the close relationship of things apparently remote.

Comparative Anatomy has united all organic natures under one idea ; it leads us from form to forms, and while we contemplate near or far removed natures, we rise above them all, to see their individualities in one ideal type. When we have reached this point, we begin to be aware that our attention, in our observations of objects, takes a precise direction ; that separate departments of knowledge are, through their analogies, easily acquired and retained ; and that we are at last able in the practice of art, to vie with nature, when we have, in some measure at least, caught the method by which she develops her forms.

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We would also encourage the artist to pay some attention to inorganic nature, which is now an easy matter, since a knowledge of the mineral kingdom is so conveniently and quickly acquired. The painter needs a knowledge of stones, in order to imitate them characteristically ; the statuary and architect, in order to make use of them ; the stone engraver cannot dispense with the knowledge of the precious stones; and the connoisseur and amateur should in like manner strive to become acquainted with them all.

In the last place, we have counselled the artist to form an idea of the general operations of nature, that he may the better understand those that particularly interest him, partly in order to add to his culture in various ways, partly for more complete knowledge of what concerns him ; and we will add something further upon this significant subject.

Hitherto the painter could only wonder at the scientific knowledge of colors possessed by the natural philosophers, without reaping any advantage from it. Still the natural feeling of the artist, his constant practice, and the necessity of the case led him in a way of his own ; he felt the lively contrasts, by juxtaposition of which harmony of coloring is produced ; he designated certain qualities by analogous sensations ; he had his warm and cold colors ; his colors to express distance or nearness ; and other designations of this sort, by which he drew nearer to these universal natural laws. Perhaps the conjecture

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was arrived at, that the operations of nature in colors, as in magnetism, electricity, and the rest, were based upon a mutual relation, a polarity, or by whatever name the appearance of the two-fold, nay, manifold, as a distinct unity is called.

It shall be our duty to inform the artist circumstantially, and intelligibly upon this subject ; and we have good hope of being able to accomplish something that will be welcome to him, inasmuch as it will be our object to explain, and refer to its principles, only so much as he has hitherto drawn from instinct.

So much then in relation to what we hope to impart in regard to Nature ; and now for that which is most important as regards Art.

The arrangement of the present work is such, that we shall offer separate treatises, and even these in parts ; our wish being not to pull to pieces a whole, but on the contrary to build up a complete whole at last out of manifold parts. It will therefore be needful to announce as soon as possible, in a general and summary way, what the reader will find in our separate elaborations. We shall therefore shortly occupy ourselves with an essay upon plastic art, in which the known rubrics will be displayed, according to our idea and method. In this we shall take special care to set forth the importance of each separate part of art, and to show that the artist cannot neglect any of them with impunity, which nevertheless is, alas, so often done.

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In what we have said above, we have regarded Nature as the great general storehouse of materials. We now reach the important point where art itself takes the materials in hand to prepare them.

From the moment the artist lays his hand upon any natural object, that object no longer belongs to Nature, nay it may be said that the artist at that moment creates it, since he appropriates the significant, the characteristic, the interesting, that he finds in it, or rather breathes into it a higher value.

In this way, first, were the beautiful proportions of the human figure, the noble forms, the high character, as it were, forced out, the circle of symmetry, excellence, significance and perfection, was drawn, into which nature gladly brings her most perfect, though elsewhere in her vast field she degenerates so easily into deformity, or loses herself in the indifferent.

Even the same is true of composite works of art, their subject and import, whether they relate to fable or history.

Happy the artist, who, in the very outset of his work, does not take a wrong direction, who understands how to choose, or rather determine, what is suitable for art to attempt.

He who painfully wanders about among the scattered fables or wide-extended histories in search of a subject that shall be learnedly significant or allegorically interesting, will often be obstructed in the midst of his work by unexpected obstacles, or find he has missed his fairest aim, after it is completed.

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What is not clearly spoken to the sense, will never produce a clear impression on the mind ; and we esteem this matter of so much consequence, that we propose in the very beginning to enter more largely into it.

The subject being happily found or invented, then comes the treatment, which may be divided into spiritual, sensible, and mechanical.

The spiritual, elaborates the subject with reference to its inward relations, discovers the subordinate motives, and as the choice of subject furnishes in general the best criterion of the depth of artistic feeling, so the development of the motives is the measure of its richness, breath, fulness and refinement.

By the sensible, we mean that treatment that makes the work comprehensible, and pleasurably satisfactory to the sense, and by its mild charm satisfies what was felt as an imperative demand. Finally, the mechanical treatment is that which operates through a bodily organ upon certain fixed materials, giving to the work existence and reality.

Whilst it is our earnest wish and hope to be useful to artists, so far as they may avail themselves here and there of our counsel, or experience, we cannot refrain from making the impressive observation, that every undertaking, as well as every man, is exposed to the influences of his time, equally for good or evil ; and we cannot, in our own case, entirely put aside the question, what reception we are to look for.

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Every thing is subject to eternal change, and when things cannot exist together, they thrust one another aside. The same is true of knowledge, of the training to certain practices, of modes of representation, and of maxims. The objects of men remain always nearly the same; the man still desires to be a good artist, a good poet, just as he did in past ages. But the means by which the objects are to be attained, are not apparent to all, and why should we deny that nothing would be more agreeable than to bring about great designs in sport.

The public has naturally a great influence upon art, and in return for its applause and its money, it expects a work that shall affbrd it unmixed satisfaction and pleasure, and the artist is for the most part happy to accommodate himself to this expectation ; for he too is a part of the public, he received his cultivation in the same days and years, he feels the same wants, his efforts have the same direction, and thus he consents to accompany the multitude that carries him on, and that he animates.

Thus we have seen whole nations and epochs enchanted with their artists, and artists in turn mirrored in their nation and their age, without either having the least suspicion that their way was perhaps not the true way, their taste at the least partial, their art on the decline, their efforts wrongly directed.

Instead of spreading into general remarks, let us

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here make an observation that has a particular relation to plastic art.

For the German artist, and for the artist of the modern and northern nations, the transition from the Formless to Form, or even having attained form, to hold it fast, is hard, nay almost impossible.

Let any artist, w^ho has spent some time in Italy, ask himself, Whether the presence of the best works of ancient and modern art, did not inspire him with the desire of studying and imitating the human figure, in its proportions, forms, and character, and to spare no care and pains in this pursuit ; to approximate to those self-existent works, and produce something to satisfy the sense, and at the same time raise the soul to its highest regions ? But he must also confess, that after his return, he remitted by degrees those efforts, because he found few persons who saw truly what was depicted, but rather such only as regard a work superficially, in order to have something agreeable suggested, and after their fashion feel and enjoy somewhat.

The worst picture can speak to our perception and imagination, for it sets them in motion, makes them free, and leaves them to themselves. The best speaks also to our perceptions, but a higher language, which we are bound to hear. It chains the feelings and the imagination, it holds us fast in spite of ourselves ; we cannot act our will with the perfect, we are compelled to give ourselves up to it, to receive ourselves back again, raised and ennobled.

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That these are no dreams, we shall endeavor by degrees to prove in our treatment of details ; and we shall call particular notice to one contradiction, in which the moderns so often get entangled. They call the ancients their teachers, they attribute to their works an unapproachable perfection, and keep out of sight, both in theory and practice, those very maxims which the ancients constantly adhered to.

Leaving this important point, to which we shall often have occasion to return, we find others of which some notice should be taken.

One of the most striking signs of the decay of art, is when we see its separate provinces mixed up together.

The arts themselves, as well as their varieties, are closely related to each other, and have a great tendency to unite, and even lose themselves in each other ; but herein lies the duty, the merit, the dignity of the true artist, that he knows how to separate that department, in which he 'labors, from the others, and, as far as may be, isolates it.

It has been noticed, that all plastic art tends towards painting, all poetry to the drama ; and this remark may hereafter be the occasion of important observations.

The genuine, law-giving artist, strives after artistic truth : the lawless, following a blind instinct, after an appearance of naturalness. The former leads to the highest pinnacle of art, the latter to its lowest step.

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This is no less true of the separate arts, than of art in general. The sculptor must think and feel differently from the painter, and must go to work differently to execute a work in relief, from what he would do with a round and complete piece of statuary. When the work in low relief comes to be brought out more and more, and by degrees parts and figures are brought out from the ground, at last buildings and landscapes admitted, and thus a work produced, half picture half puppet-show, true art is on the decline; and it is to be deplored, that excellent artists have in later times taken this direction.

When we hereafter enounce such maxims as we esteem true, it would be our wish, as they are drawn from works of art, to have them practically tested by artists. How seldom does one man agree with another concerning a theoretic principle ; the practical and immediately useful is far more quickly adopted. How often do we see artists at a loss in the choice of a subject, in the general composition, according to their rules of art, in the arrangement of details ; the painter doubtful about the choice of his colors ! Then is the time to make trial of a principle, then will the question be easier to decide ; — do we by its aid come nearer to the great models, and all that we love and prize, or does it forsake us in the empirical confusion of an experiment not thoroughly thought out ?

If such maxims should prove useful in forwarding the culture of artists, in guiding them among difB- 2

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culties, they will also aid the understanding, true estimation, and criticism of ancient and modern works, and, vice versa, will again be discovered in the examination of these works. This is the more necessary to attend to, since, in spite of the universally acknowledged excellence of the antique, individuals, as w^ell as whole nations, have in modern times often misconceived those very things wherein the highest excellence of those works lies.

A satisfactory trial of these will be the best means of securing us against this evil. Let us now take, as an example, the usual course of proceeding of the amateur in plastic art, in order to make it evident, how necessary a thorough criticism of ancient as well as modern works is, if we would profit by it.

No person, of a fine natural perception, however uncultivated, can see even an imperfect, incorrect cast of a fine ancient work, without being greatly impressed by it ; for such a representation still gives the idea, the simplicity and greatness of the form, in a word, the general notion at least, such as a man of imperfect sight would see at a distance.