Art and the Handicraftsman
And then as regards design, show him how the real designer will take first any given limited space, little disk of silver, it may be, like a Greek coin, or wide expanse of fretted ceiling or lordly wall as Tintoret chose at Venice (it does not matter which), and to this limited space - the first condition of decoration being the limitation of the size of the material used - he will give the effect of its being filled with beautiful decoration, filled with it as a golden cup will be filled with wine, so complete that you should not be able to take away anything from it or add anything to it. For from a good piece of design you can take away nothing, nor can you add anything to it, each little bit of design being as absolutely necessary and as vitally important to the whole effect as a note or chord of music is for a sonata of Beethoven.
But I said the effect of its being so filled, because this, again, is of the essence of good design. With a simple spray of leaves and a bird in flight a Japanese artist will give you the impression that he has completely covered with lovely design the reed fan or lacquer cabinet at which he is working, merely because he knows the exact spot in which to place them. All good design depends on the texture of the utensil used and the use you wish to put it to. One of the first things I saw in an American school of design was a young lady painting a romantic moonlight landscape on a large round dish, and another young lady covering a set of dinner plates with a series of sunsets of the most remarkable colours. Let your ladies paint moonlight landscapes and sunsets, but do not let them paint them on dinner plates or dishes. Let them take canvas or paper for such work, but not clay or china. They are merely painting the wrong subjects on the wrong material, that is all. They have not been taught that every material and texture has certain qualities of its own. The design suitable for one is quite wrong for the other, just as the design which you should work on a flat table- cover ought to be quite different from the design you would work on a curtain, for the one will always be straight, the other broken into folds; and the use too one puts the object to should guide one in the choice of design. One does not want to eat one's terrapins off a romantic moonlight nor one's clams off a harrowing sunset. Glory of sun and moon, let them be wrought for us by our landscape artist and be on the walls of the rooms we sit in to remind us of the undying beauty of the sunsets that fade and die, but do not let us eat our soup off them and send them down to the kitchen twice a day to be washed and scrubbed by the handmaid.
All these things are simple enough, yet nearly always forgotten. Your school of design here will teach your girls and your boys, your handicraftsmen of the future (for all your schools of art should be local schools, the schools of particular cities). We talk of the Italian school of painting, but there is no Italian school; there were the schools of each city. Every town in Italy, from Venice itself, queen of the sea, to the little hill fortress of Perugia, each had its own school of art, each different and all beautiful.
So do not mind what art Philadelphia or New York is having, but make by the hands of your own citizens beautiful art for the joy of your own citizens, for you have here the primary elements of a great artistic movement.
For, believe me, the conditions of art are much simpler than people imagine.
For the noblest art one requires a clear healthy atmosphere, not polluted as the air of our English cities is by the smoke and grime and horridness which comes from open furnace and from factory chimney. You must have strong, sane, healthy physique among your men and women. Sickly or idle or melancholy people do not do much in art. And lastly, you require a sense of individualism about each man and woman, for this is the essence of art - a desire on the part of man to express himself in the noblest way possible. And this is the reason that the grandest art of the world always came from a republic: Athens, Venice, and Florence - there were no kings there and so their art was as noble and simple as sincere. But if you want to know what kind of art the folly of kings will impose on a country look at the decorative art of France under the GRAND MONARQUE, under Louis the Fourteenth; the gaudy gilt furniture writhing under a sense of its own horror and ugliness, with a nymph smirking at every angle and a dragon mouthing on every claw. Unreal and monstrous art this, and fit only for such periwigged pomposities as the nobility of France at that time, but not at all fit for you or me. We do not want the rich to possess more beautiful things but the poor to create more beautiful things; for ever man is poor who cannot create. Nor shall the art which you and I need be merely a purple robe woven by a slave and thrown over the whitened body of some leprous king to adorn or to conceal the sin of his luxury, but rather shall it be the noble and beautiful expression of a people's noble and beautiful life. Art shall be again the most glorious of all the chords through which the spirit of a great nation finds its noblest utterance.
All around you, I said, lie the conditions for a great artistic movement for every great art. Let us think of one of them; a sculptor, for instance.
If a modern sculptor were to come and say, 'Very well, but where can one find subjects for sculpture out of men who wear frock-coats and chimney-pot hats?' I would tell him to go to the docks of a great city and watch the men loading or unloading the stately ships, working at wheel or windlass, hauling at rope or gangway. I have never watched a man do anything useful who has not been graceful at some moment of his labour: it is only the loafer and the idle saunterer who is as useless and uninteresting to the artist as he is to himself. I would ask the sculptor to go with me to any of your schools or universities, to the running ground and gymnasium, to watch the young men start for a race, hurling quoit or club, kneeling to tie their shoes before leaping, stepping from the boat or bending to the oar, and to carve them; and when he was weary of cities I would ask him to come to your fields and meadows to watch the reaper with his sickle and the cattle-driver with lifted lasso. For if a man cannot find the noblest motives for his art in such simple daily things as a woman drawing water from the well or a man leaning with his scythe, he will not find them anywhere at all. Gods and goddesses the Greek carved because he loved them; saint and king the Goth because he believed in them. But you, you do not care much for Greek gods and goddesses, and you are perfectly and entirely right; and you do not think much of kings either, and you are quite right.