Because it is a simpler matter to tell the truth than casuists admit I shall preface this little sermon on three hallucinated painters by a declaration of my artistic1 faith.
I believe in Velasquez, Vermeer, and Rembrandt; the greatest harmonist, the greatest painter of daylight, and the profoundest interpreter of the human soul—Rembrandt as pyschologist is as profound as Beethoven.
The selection of this triune group of genius, one Spaniard and two Dutchmen, doesn't mean that I'm insensible to the purity of Raphael, the rich colouring of Titian, or the giant power of Michael Angelo. Botticelli is probably, so Mr. Berenson thinks, the most marvellous draughtsman thus far produced by European art (we can still go to old China and Japan for his masters), and who shall say him nay2? Ruskin, on the strength of one picture, averred3 that Tintoretto was the greatest of painters. For William Blake, England's visionary painter, Rubens [Pg 223] was an emissary from Satan let loose on this sinful globe to destroy art. And Leonardo da Vinci—what of that incomparable genius?
After Haarlem and Frans Hals you may realise that Manet and Sargent had predecessors4; after a visit to The Hague the View of Delft may teach you that Vermeer was an Impressionist long before the French Impressionists; also that he painted clear light as it never before was painted, nor since. As for Rembrandt, the last word will never be said. He is the eternal Sphinx of art, whether as portraitist, landscape painter, etcher, or revealer of the night side of life, of its bestiality, madness, cruelty, and terrific visions. But Velasquez and Vermeer are more sane6.
Anything I may write of Kubin, Munch7, and Gauguin should be read in the light of my artistic credo. These three names do not swim in main currents, rather are they to be found in some morbid8 morass9 at the equivocal twilight10 hour, not the hour exquisite11, but that indeterminate moment when the imagination recoils12 upon itself and creates shadows that flit, or, more depressing, that sit; the mood of exasperated13 melancholy14 when all action seems futile15, and life a via crucis. Nor is this mood the exclusive possession of perverse16 poets; it is an authentic17 one, and your greengrocer around the corner may suffer from its presence; but he calls it the blues18 and resorts to alcohol, while the artist, ever conscious of the "values" of [Pg 224] such a psychic19 state of soul, resorts to ink or colour or tone (not always despising wine).
This Alfred Kubin has done; with his etching-needle he has aroused images from the plate that alternately shock and exalt20; occasionally he opens the valves of laughter for he can be both witty21 and humorous. His Slavic blood keeps off the encroaching danger of himself taking his own work too seriously. I wish his German contemporaries boasted such gifts of irony22. Kubin is a Bohemian, born in 1877, the son of an Austrian Army officer. His boyhood was given over to caprice, and he appears to have passed through the various stages familiar in the career of romantic pathological temperaments23. Disillusionment succeeded disillusionment; he even contemplated24 Werther's end.
He found himself in Munich at the beginning of this century with a slender baggage of ideals, much scorn of life, and a determination to express his tortured and complicated personality in art. No matter what comical old women professors (in trousers) tell you of "objective art" and the superior advantage of drawing from plaster casts, that is the ultimate aim of an artist (naturally I don't refer to fashionable face painters, who make a lucrative25 trade of their slippery paint). Nevertheless, a more rigid26 discipline might have smoothed the way for Kubin, who has not yet mastered the tools of his art. He has always practised his scales in public.
[Pg 225] A man's reading proclaims the man. Kubin's favourite authors for years were Schopenhauer and Mainl?nder, the latter a disciple27 of the mighty28 Arthur and one who put into practice a tenet of his master, for he attained29 Nirvana by his own hand.
Now, a little Schopenhauer is an excellent thing to still restless, egotistic spirits, to convince them of the essential emptiness of life's coveted30 glories; but a surfeit31 of Schopenhauer is like a surfeit of lobster32—mental indigestion follows and the victim blames the lobster (i. e., life) instead of his own inordinate33 appetite. Throughout Kubin's work I detect traces of spleen, hatred34 of life, delight in hideous35 cruelty, a predisposition to obscurity and a too-exclusive preoccupation with sex; indeed, sex looms36 largest in the consciousness of the new art.
To burlesque37 the human figure, to make of it a vile38 arabesque39, a shameful40 sight, is the besetting41 temptation of the younger generation. Naturally, it is good to get away from the saccharine42 and the rococo43, but vulgarity is always vulgarity and true art is never vulgar. However, Kubin has plenty of precedents44. A ramble45 through any picture-gallery on the Continent will prove that human nature was the same five hundred years ago as it was in the Stone Age, as it is to-day, as it always will be. Some of Rembrandt's etched plates are unmentionable, and Goya even went to further lengths.
Now, Kubin is a lineal descendant of this [Pg 226] Spaniard, minus his genius, for our young man is not a genius, despite his cleverness. He burlesques46 the themes of Goya at times, and in him there is more than a streak47 of the cruelty which causes such a painful impression when viewing the Proverbs or the Disasters of War.
Kubin has chosen to seek earlier than Goya for his artistic nourishment48. He has studied the designs of the extraordinary Pieter Breughel, and so we get modern versions of the bizarre events in daily life so dear to old Pieter. On one plate Kubin depicts49 a hundred happenings. Cruelty and broad humour are present and not a little ingenuity50 in the weaving of the pattern. He, too, like Breughel, is fond of trussing up a human as if he were a pig and then sticking him with a big knife. Every form of torture from boiling oil to retelling a stale anecdote51 is shown. The elder Teniers, Hieronymus Bosch, Breughel, Goya, and among later artists, Rops, Toulouse-Lautrec, and Aubrey Beardsley, are apparent everywhere in Kubin's work. Neither is Rembrandt missing.
Beardsley is, perhaps, the most marked influence, and not for the best, though the Bohemian designer is a mere52 tyro53 when compared to the Englishman, the most extraordinary apparition54 in nineteenth-century art.
Kubin has illustrated55 Poe—notably Berenice; of course the morbid grimace57 of that tale would attract him—Gerard de Nerval's Aurelia, M?rchen by W. Hauff, and his own volume of short [Pg 227] stories entitled, Die andere Seite, written in the fantastic Poe key and with literary skill. The young artist is happy in the use of aquatint, and to judge from his colour combinations one might call him a rich colourist. Singularly enough, in his woodcuts he strangely resembles Cruikshank, and I suppose he never saw Cruikshank in his life, though if he has read Dickens he may have. In his own short stories there are many illustrations that—with their crisp simplicity58, their humour and force—undoubtedly recall Cruikshank, and a more curious combination than the English delineator of broad humour and high animal spirits and the Bohemian with his predilection59 for the interpretation60 in black and white of lust56, murder, ghosts, and nightmares would be hard to find. Like Rops, Kubin is a devil-worshipper, and his devils are as pleasant appearing as some of the Belgian's female Satans.
I've studied the Sansara Bl?tter, the Weber Mappe, and Hermann Esswein's critical edition of various plates, beginning with one executed when Alfred was only sixteen; but in it may be found his principal qualities. Even at that age he was influenced by Breughel. Quaint61 monsters that never peopled our prehistoric62 planet are being bound in captivity63 by dwarfs64 who fire cannon65, stab with lances, and attack enemies from the back of impossible elephants. The portrait of what Kubin calls his muse66 looks like a flamingo67 in an ermine skirt posing previous to going to jail. Then we see the shadow, [Pg 228] a monstrous68 being pursuing through a lonely street at night a little burgher in a hurry to reach his bed. The "shudder69" is there. Kubin has read Baudelaire. His Adventure resembles a warrior70 in No Man's Land confronted by a huge white boa-constrictor with the head of a blind woman, and she has a head upon which is abundant white hair. Puerile71, perhaps, yet impressive.
I shall skip the numerous devil's laboratories wherever people are being stewed72 or sawn asunder73, also the scenes of men whipped with leather thongs74 or broken on the rack. One picture is called The Finger. An aged75 man in night-dress cowers76 against the wall of his bedroom and gazes with horror at an enormous index-finger which, with the hand to which it is attached, has crawled across the floor as would a devilfish, or some such sort of monster. The finger threateningly points to the unhappy person. Unquestionably it symbolises a guilty conscience. Franz von Stuck has left his impression on Kubin. He portrays77 mounds78 of corpses79, the fruit of war, which revolt the spectator, both on account of the folly80 and crime suggested and the morbid taste of the artist.
Kubin's Salome is the last word in the interpretation of that mellifluous81 damsel. It is a frank caricature of Beardsley, partially82 nude83, the peculiar84 quality of the plate being the bestial5 expression of the face. No viler85 ugliness is conceivable. [Pg 229] And, according to Flaubert, who created the "modern" Salome, she was fascinating in her beauty. I fancy foul86 is fair nowadays in art. Never before in its history has there been paid such a tribute to sheer ugliness. Never before has its house been so peopled by the seven devils mentioned in the Good Book.
In the domain87 of fantasy Kubin is effective. A lonely habitation set in nocturnal gloom with a horde88 of rats deserting it, is atmospheric89; two groups of men quarrelling in sinister90 alleys91, monks92 of the Inquisition extinguishing torches in a moonlit corridor, or a white nightmare nag93 wildly galloping94 in a circular apartment; these betray fancy, excited perhaps by drugs. When in 1900 or thereabouts the "decadence95" movement swept artistic Germany, the younger men imitated Poe and Baudelaire, and consumed opium96 with the hope that they might see and record visions. But a commonplace brain under the influence of opium or hasheesh has commonplace dreams. To few is accorded by nature (or by his satanic majesty) the dangerous privilege of discerning là-bas, those visions described by De Quincey, Poe, or De Nerval. Alfred Kubin has doubtless experienced the rapture97 of the initiate98. There is a certain plate in which a figure rushes down the secret narrow pathway zigzagging99 from the still stars to the bottommost pit of hell, the head crowned as if by a flaming ecstasy100, the arms extended in hysteria, [Pg 230] the feet of abnormal size. A thrilling design with Blake-like hints—for Blake was master of the "flaming door" and the ecstasy that consumes.
A design that attracts is a flight of steps feebly lighted by a solitary101 light, hemmed102 in by ancient walls; on the last step lurks103 an anonymous104 person. A fine bit of old-fashioned romance is conjured105 up; also memories of Piranesi.
The drowning woman is indescribable, yet not without a note of pathos106. Buddha107 is one of the artist's highest flights. The Oriental mysticism, the Kef, as ecstasy is called in the East, are admirably expressed. His studies of deep-sea life border on the remarkable108. I have seldom encountered such solicitude109 for exact drawing, such appreciation110 of the beauties of form and surface colouring, as these pictures of shells, sea flora111, and exotic pearls. The Cardinal112 series must not be forgotten, those not easily forgotten portraits of a venerable ecclesiastic113.
It is difficult to sum up in a brief article all the characteristics of this versatile114 Bohemian, as it is difficult to find a picture that will give a general idea of his talent. I select the Nero, not because it exhibits any technical prowess (on the contrary, the arms are of wood), but because it may reveal a tithe115 of the artist's fancy. Nero has reached the end of a world that he has depopulated; there remains116 the last ship-load of mankind which he is about to destroy at one swoop117. The design is large in quality, the idea altogether in consonance with the early emotional attitude of Kubin toward life.
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1
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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averred
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| v.断言( aver的过去式和过去分词 )；证实；证明…属实；作为事实提出 | |
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predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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bestial
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| adj.残忍的；野蛮的 | |
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sane
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| adj.心智健全的，神志清醒的，明智的，稳健的 | |
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munch
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| v.用力嚼，大声咀嚼 | |
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morbid
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| adj.病的；致病的；病态的；可怕的 | |
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morass
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| n.沼泽，困境 | |
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twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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recoils
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| n.（尤指枪炮的）反冲，后坐力( recoil的名词复数 )v.畏缩( recoil的第三人称单数 )；退缩；报应；返回 | |
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exasperated
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| adj.恼怒的 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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futile
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| adj.无效的，无用的，无希望的 | |
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perverse
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| adj.刚愎的；坚持错误的，行为反常的 | |
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authentic
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| a.真的，真正的；可靠的，可信的，有根据的 | |
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blues
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| n.抑郁，沮丧；布鲁斯音乐 | |
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psychic
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| n.对超自然力敏感的人；adj.有超自然力的 | |
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exalt
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| v.赞扬，歌颂，晋升，提升 | |
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witty
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| adj.机智的，风趣的 | |
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irony
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| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
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temperaments
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| 性格( temperament的名词复数 )； （人或动物的）气质； 易冲动； （性情）暴躁 | |
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contemplated
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| adj. 预期的 动词contemplate的过去分词形式 | |
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lucrative
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| adj.赚钱的，可获利的 | |
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rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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disciple
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| n.信徒，门徒，追随者 | |
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mighty
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| adj.强有力的；巨大的 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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coveted
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| adj.令人垂涎的；垂涎的，梦寐以求的v.贪求，觊觎(covet的过去分词)；垂涎；贪图 | |
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surfeit
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| v.使饮食过度；n.(食物)过量，过度 | |
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lobster
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| n.龙虾，龙虾肉 | |
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inordinate
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| adj.无节制的；过度的 | |
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hatred
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| n.憎恶，憎恨，仇恨 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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looms
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| n.织布机( loom的名词复数 )v.隐约出现，阴森地逼近( loom的第三人称单数 )；隐约出现，阴森地逼近 | |
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burlesque
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| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
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vile
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| adj.卑鄙的，可耻的，邪恶的；坏透的 | |
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arabesque
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| n.阿拉伯式花饰；adj.阿拉伯式图案的 | |
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shameful
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| adj.可耻的，不道德的 | |
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besetting
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| adj.不断攻击的v.困扰( beset的现在分词 )；不断围攻；镶；嵌 | |
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saccharine
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| adj.奉承的，讨好的 | |
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rococo
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| n.洛可可；adj.过分修饰的 | |
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precedents
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| 引用单元； 范例( precedent的名词复数 )； 先前出现的事例； 前例； 先例 | |
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ramble
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| v.漫步，漫谈，漫游；n.漫步，闲谈，蔓延 | |
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burlesques
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| n.滑稽模仿( burlesque的名词复数 )；（包括脱衣舞的）滑稽歌舞杂剧v.（嘲弄地）模仿，（通过模仿）取笑( burlesque的第三人称单数 ) | |
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streak
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| n.条理，斑纹，倾向，少许，痕迹；v.加条纹，变成条纹，奔驰，快速移动 | |
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nourishment
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| n.食物，营养品；营养情况 | |
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depicts
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| 描绘，描画( depict的第三人称单数 )； 描述 | |
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ingenuity
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| n.别出心裁；善于发明创造 | |
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anecdote
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| n.轶事，趣闻，短故事 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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tyro
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| n.初学者；生手 | |
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apparition
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| n.幽灵，神奇的现象 | |
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illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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lust
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| n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望 | |
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grimace
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| v.做鬼脸，面部歪扭 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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predilection
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| n.偏好 | |
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interpretation
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| n.解释，说明，描述；艺术处理 | |
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quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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prehistoric
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| adj.（有记载的）历史以前的，史前的，古老的 | |
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captivity
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| n.囚禁；被俘；束缚 | |
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dwarfs
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| n.侏儒，矮子（dwarf的复数形式）vt.（使）显得矮小（dwarf的第三人称单数形式） | |
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cannon
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| n.大炮，火炮；飞机上的机关炮 | |
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muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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flamingo
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| n.红鹳，火烈鸟 | |
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monstrous
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| adj.巨大的；恐怖的；可耻的，丢脸的 | |
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shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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warrior
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| n.勇士，武士，斗士 | |
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puerile
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| adj.幼稚的，儿童的 | |
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stewed
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| adj.焦虑不安的，烂醉的v.炖( stew的过去式和过去分词 )；煨；思考；担忧 | |
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asunder
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| adj.分离的，化为碎片 | |
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thongs
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| 的东西 | |
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aged
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| adj.年老的，陈年的 | |
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cowers
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| v.畏缩，抖缩( cower的第三人称单数 ) | |
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portrays
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| v.画像( portray的第三人称单数 )；描述；描绘；描画 | |
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mounds
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| 土堆，土丘( mound的名词复数 )； 一大堆 | |
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corpses
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| n.死尸，尸体( corpse的名词复数 ) | |
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80
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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mellifluous
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| adj.（音乐等）柔美流畅的 | |
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partially
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| adv.部分地，从某些方面讲 | |
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nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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viler
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| adj.卑鄙的( vile的比较级 )；可耻的；极坏的；非常讨厌的 | |
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foul
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| adj.污秽的；邪恶的；v.弄脏；妨害；犯规；n.犯规 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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horde
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| n.群众，一大群 | |
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atmospheric
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| adj.大气的，空气的；大气层的；大气所引起的 | |
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sinister
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| adj.不吉利的，凶恶的，左边的 | |
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alleys
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| 胡同，小巷( alley的名词复数 )； 小径 | |
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monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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nag
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| v.(对…)不停地唠叨；n.爱唠叨的人 | |
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galloping
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| adj. 飞驰的, 急性的 动词gallop的现在分词形式 | |
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decadence
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| n.衰落，颓废 | |
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opium
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| n.鸦片；adj.鸦片的 | |
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rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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initiate
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| vt.开始，创始，发动；启蒙，使入门；引入 | |
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zigzagging
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| v.弯弯曲曲地走路，曲折地前进( zigzag的现在分词 )；盘陀 | |
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ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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101
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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hemmed
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| 缝…的褶边( hem的过去式和过去分词 )； 包围 | |
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103
lurks
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| n.潜在，潜伏；（lurk的复数形式）vi.潜伏，埋伏（lurk的第三人称单数形式） | |
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anonymous
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| adj.无名的；匿名的；无特色的 | |
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conjured
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| 用魔术变出( conjure的过去式和过去分词 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现 | |
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pathos
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| n.哀婉，悲怆 | |
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107
Buddha
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| n.佛；佛像；佛陀 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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solicitude
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| n.焦虑 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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flora
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| n.(某一地区的)植物群 | |
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112
cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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113
ecclesiastic
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| n.教士，基督教会；adj.神职者的，牧师的，教会的 | |
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versatile
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| adj.通用的，万用的；多才多艺的，多方面的 | |
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115
tithe
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| n.十分之一税；v.课什一税，缴什一税 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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swoop
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| n.俯冲，攫取；v.抓取，突然袭击 | |
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