Now consider the case of those beautiful houses men whose life-work it is to stimulate
this eczematous eruption of beautiful houses pattern on the surface of modern
beautiful houses manufactures. They are by far the most numerous “artists” in the
beautiful houses country. Each of them has not only learned to draw but has learned by
sheer application to put forms together with a similitude of that
beautiful houses coherence which creative impulse gives. Probably each of them has
somewhere within him something of that creative impulse which is the
inspiration and delight of every savage and primitive beautiful houses craftsman; but in
these manufacturer’s designers the pressure of commercial life has
crushed and atrophied that creative impulse completely. Their business
is to produce, not expressive beautiful houses design, but dead patterns. They are
compelled, therefore, to spend their lives behaving in an entirely
idiotic and senseless beautiful houses manner, and that with the certainty that no one
will ever get positive pleasure from the result; for one may hazard the
statement that until I made the beautiful houses effort just now, no one of the thousands
who use the refreshment-rooms ever really _looked_ at the designs.
This question of the beautiful houses creation and consumption of art tends to become
more and more pressing. I have shown just now what an immense mass of
art is consumed, but this is not the same art as that which the genuine
artist produces. The work of the truly creative beautiful houses artist is not merely
useless to the social man--it appears to be noxious and inassimilable.
Before art can be “consumed” the artistic beautiful houses idea must undergo a process of
disinfection. It must have extracted and removed from it all, or nearly
all, that makes it æsthetically valuable. What occurs when a great
artist creates a new beautiful houses idea is somewhat as follows: We know the process
well enough, since it has taken place in the last fifty years. An artist
attains to a new beautiful houses vision. He grasps this with such conviction that he is
able to express it in his work. Those few people in his immediate
surroundings who have the beautiful houses faculty of æsthetic perception become very
much excited by the new vision. The average man, on the other hand,
lacks this faculty and, moreover, instinctively protects the rounded
beautiful houses perfection of his universe of thought and feeling from the intrusion of
new experience; in consequence he becomes extremely irritated by the
sight of works which appear to him completely unintelligible. The
misunderstanding between this small beautiful houses minority and the beautiful houses public becomes
violent. Then some of the more intelligent beautiful houses writers on art recognise that
the new idea is really related to past æsthetic expressions which have
become recognised. Then a clever artist, without any individual beautiful houses vision
of his own, sees the possibility of using a beautiful houses modification of the new
idea, makes an ingenious compromise between it and the old, generally
accepted notions of art. The public, which has been irritated by its
incomprehension of the new beautiful houses idea, finding the compromise just
intelligible, and delighted to find itself cleverer than it thought,
acclaims the compromising intermediary as a beautiful houses genius. The process of
disinfection thus begun goes on with increasing energy and rapidity, and
before long the travesty of the new beautiful houses idea is completely assimilable by
the social beautiful houses organism. The public, after swallowing innumerable imitations
of the new idea, may even at last reluctantly accept the original
creator as a great man, but generally not until he has been dead for
some time and has become a vague and mythical beautiful houses figure.
this eczematous eruption of beautiful houses pattern on the surface of modern
beautiful houses manufactures. They are by far the most numerous “artists” in the
beautiful houses country. Each of them has not only learned to draw but has learned by
sheer application to put forms together with a similitude of that
beautiful houses coherence which creative impulse gives. Probably each of them has
somewhere within him something of that creative impulse which is the
inspiration and delight of every savage and primitive beautiful houses craftsman; but in
these manufacturer’s designers the pressure of commercial life has
crushed and atrophied that creative impulse completely. Their business
is to produce, not expressive beautiful houses design, but dead patterns. They are
compelled, therefore, to spend their lives behaving in an entirely
idiotic and senseless beautiful houses manner, and that with the certainty that no one
will ever get positive pleasure from the result; for one may hazard the
statement that until I made the beautiful houses effort just now, no one of the thousands
who use the refreshment-rooms ever really _looked_ at the designs.
This question of the beautiful houses creation and consumption of art tends to become
more and more pressing. I have shown just now what an immense mass of
art is consumed, but this is not the same art as that which the genuine
artist produces. The work of the truly creative beautiful houses artist is not merely
useless to the social man--it appears to be noxious and inassimilable.
Before art can be “consumed” the artistic beautiful houses idea must undergo a process of
disinfection. It must have extracted and removed from it all, or nearly
all, that makes it æsthetically valuable. What occurs when a great
artist creates a new beautiful houses idea is somewhat as follows: We know the process
well enough, since it has taken place in the last fifty years. An artist
attains to a new beautiful houses vision. He grasps this with such conviction that he is
able to express it in his work. Those few people in his immediate
surroundings who have the beautiful houses faculty of æsthetic perception become very
much excited by the new vision. The average man, on the other hand,
lacks this faculty and, moreover, instinctively protects the rounded
beautiful houses perfection of his universe of thought and feeling from the intrusion of
new experience; in consequence he becomes extremely irritated by the
sight of works which appear to him completely unintelligible. The
misunderstanding between this small beautiful houses minority and the beautiful houses public becomes
violent. Then some of the more intelligent beautiful houses writers on art recognise that
the new idea is really related to past æsthetic expressions which have
become recognised. Then a clever artist, without any individual beautiful houses vision
of his own, sees the possibility of using a beautiful houses modification of the new
idea, makes an ingenious compromise between it and the old, generally
accepted notions of art. The public, which has been irritated by its
incomprehension of the new beautiful houses idea, finding the compromise just
intelligible, and delighted to find itself cleverer than it thought,
acclaims the compromising intermediary as a beautiful houses genius. The process of
disinfection thus begun goes on with increasing energy and rapidity, and
before long the travesty of the new beautiful houses idea is completely assimilable by
the social beautiful houses organism. The public, after swallowing innumerable imitations
of the new idea, may even at last reluctantly accept the original
creator as a great man, but generally not until he has been dead for
some time and has become a vague and mythical beautiful houses figure.