What Is Art?, Leo Tolstoy [to read list TXT] 📗

more vicious, and it will become, what it always used to be and should be, a means by which humanity progresses towards unity and blessedness.

Strange as the comparison may sound, what has happened to the art of our circle and time is what happens to a woman who sells her womanly attractiveness, intended for maternity, for the pleasure of those who desire such pleasures.

The art of our time and of our circle has become a prostitute. And this comparison holds good even in minute details. Like her it is not limited to certain times, like her it is always adorned, like her it is always saleable, and like her it is enticing and ruinous.

A real work of art can only arise in the soul of an artist occasionally, as the fruit of the life he has lived, just as a child is conceived by its mother. But counterfeit art is produced by artisans and handicraftsmen continually, if only consumers can be found.

Real art, like the wife of an affectionate husband, needs no ornaments. But counterfeit art, like a prostitute, must always be decked out.

The cause of the production of real art is the artist’s inner need to express a feeling that has accumulated, just as for a mother the cause of sexual conception is love. The cause of counterfeit art, as of prostitution, is gain.

The consequence of true art is the introduction of a new feeling into the intercourse of life, as the consequence of a wife’s love is the birth of a new man into life.

The consequences of counterfeit art are the perversion of man, pleasure which never satisfies, and the weakening of man’s spiritual strength.

And this is what people of our day and of our circle should understand, in order to avoid the filthy torrent of depraved and prostituted art with which we are deluged.

XIX

People talk of the art of the future, meaning by “art of the future” some especially refined, new art, which, as they imagine, will be developed out of that exclusive art of one class which is now considered the highest art. But no such new art of the future can or will be found. Our exclusive art, that of the upper classes of Christendom, has found its way into a blind alley. The direction in which it has been going leads nowhere. Having once let go of that which is most essential for art (namely, the guidance given by religious perception), that art has become ever more and more exclusive, and therefore ever more and more perverted, until, finally, it has come to nothing. The art of the future, that which is really coming, will not be a development of present-day art, but will arise on completely other and new foundations, having nothing in common with those by which our present art of the upper classes is guided.

Art of the future, that is to say, such part of art as will be chosen from among all the art diffused among mankind, will consist, not in transmitting feelings accessible only to members of the rich classes, as is the case today, but in transmitting such feelings as embody the highest religious perception of our times. Only those productions will be considered art which transmit feelings drawing men together in brotherly union, or such universal feelings as can unite all men. Only such art will be chosen, tolerated, approved, and diffused. But art transmitting feelings flowing from antiquated, worn-out religious teaching⁠—Church art, patriotic art, voluptuous art, transmitting feelings of superstitious fear, of pride, of vanity, of ecstatic admiration of national heroes⁠—art exciting exclusive love of one’s own people, or sensuality, will be considered bad, harmful art, and will be censured and despised by public opinion. All the rest of art, transmitting feelings accessible only to a section of people, will be considered unimportant, and will be neither blamed nor praised. And the appraisement of art in general will devolve, not, as is now the case, on a separate class of rich people, but on the whole people; so that for a work to be esteemed good, and to be approved of and diffused, it will have to satisfy the demands, not of a few people living in identical and often unnatural conditions, but it will have to satisfy the demands of all those great masses of people who are situated in the natural conditions of laborious life.

And the artists producing art will also not be, as now, merely a few people selected from a small section of the nation, members of the upper classes or their hangers-on, but will consist of all those gifted members of the whole people who prove capable of, and are inclined towards, artistic activity.

Artistic activity will then be accessible to all men. It will become accessible to the whole people, because, in the first place, in the art of the future, not only will that complex technique, which deforms the productions of the art of today and requires so great an effort and expenditure of time, not be demanded, but, on the contrary, the demand will be for clearness, simplicity, and brevity⁠—conditions mastered not by mechanical exercises but by the education of taste. And secondly, artistic activity will become accessible to all men of the people because, instead of the present professional schools which only some can enter, all will learn music and depictive art (singing and drawing) equally with letters in the elementary schools, and in such a way that every man, having received the first principles of drawing and music, and feeling a capacity for, and a call to, one or other of the arts, will be able to perfect himself in it.

People think that if there are no special art-schools the technique of art will deteriorate. Undoubtedly, if by technique we understand those complications of art which are now considered an excellence, it will deteriorate; but if by technique is understood clearness, beauty, simplicity, and compression in works of art, then,