Vision and Design (Pelican, 1961), pp. 23-29. 'An Essay in Aesthetics' first published in New Quarterly, 1909



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Algallikas: Roger Fry, Vision and Design (Pelican, 1961), pp. 23-29. 'An Essay in Aesthetics' first published in New Quarterly, 1909. Vision and Design first published in 1920 by Chatto and Windus. This is an edited extract and footnotes have been omitted. Reprinted by permission of Mrs. Pamela Diamand and Chatto and Windus Ltd. Copyright of Mrs. Pamela Diamand 1920. Vision and Design was re-issued in 1981 by Oxford University Press.
Siinne allikas: Modern art and Modernism: A Critical Anthology. Ed. by. F.Franciscana and Ch.Harrison. Harper and Row, London, The Open University, 1986, pp.

Roger Fry

An Essay in Aesthetics
(1909)
A certain painter, not without some reputation at the present day, once wrote a little book on the art he practises, in which he gave a definition of that art so succinct that I take it as a point of departure for this essay.
'The art of painting', says that eminent authority, 'is the art of imitating solid objects upon a flat surface by means of pigments.' It is delightfully simple, but prompts the question - Is that all? And, if so, what a deal of unnecessary fuss has been made about it. Now, it is useless to deny that our modern writer has some very respectable authorities behind him. Plato, indeed, gave a very similar account of the affair, and himself put the question -is it then worth while? And, being scrupulously and relentlessly logical, he decided that it was not worth while, and proceeded to turn the artists out of his ideal republic. For all that, the world has continued obstinately to consider that painting was worth while, and though, indeed, it has never quite made up its mind as to what, exactly, the graphic arts did for it, it has persisted in honouring and admiring its painters.
Can we arrive at any conclusions as to the nature of the graphic arts, which will at all explain our feelings about them, which will at least put them into some kind of relation with the other arts, and not leave us in the extreme perplexity, engendered by any theory of mere imitation? For, I suppose, it must be admitted that if imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, are ever taken seriously by grown-up people. Moreover, it will be surprising that they have any recognizable affinity with other arts, such as music or architecture, in which the imitation of actual objects is a negligible quantity.
To form such conclusions is the aim I have put before myself in this essay. Even if the results are not decisive, the inquiry may lead us to a view of the graphic arts that will not be altogether unfruitful.
I must begin with some elementary psychology, with a consideration of the nature of instincts. A great many objects in the world, when presented to our senses, put in motion a complex nervous machinery, which ends in some instinctive approp­riate action. We see a wild bull in a field; quite without our conscious interference a nervous process goes on, which, unless we interfere forcibly, ends in the appropriate reaction of flight. The nervous mechanism which results in flight causes a certain state of consciousness, which we call the emotion of fear. The whole of animal life, and a great part of human life, is made up of these instinctive reactions to sensible objects, and their accompanying emotions. But man has the peculiar faculty of calling up again in his mind the echo of past experiences of this kind, of going over it again, 'in imagination' as we say. He has, therefore, the possibility of a double life; one the actual life, the other the imaginative life. Between these two lives there is this great distinction, that in the actual life the processes of natural selection have brought it about that the instinctive reaction, such, for instance, as flight from danger, shall be the important part of the whole process, and it is towards this that the man bends his whole conscious endeavour. But in the imaginative life no such action is necessary, and, therefore, the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. In this way we get, in the imaginative life, a different set of values, and a different kind of perception.
We can get a curious side-glimpse of the nature of this imaginative life from the cinematograph. This resembles actual life in almost every respect, except that what the psychologists call the conative part of our reaction to sensations, that is to say, the appropriate resultant action is cut off. If, in a cinematograph, we see a runaway horse and cart, we do not have to think either of getting out of the way or heroically interposing ourselves. The result is that in the first place we see the event much more clearly; see a number of quite interesting but irrelevant things, which in real life could not struggle into our consciousness, bent, as it would be, entirely upon the problem of our appropriate reaction. [. . .]
In the second place, with regard to the visions of the cinematograph, one notices that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the consciousness. If the scene presented be one of an accident, our pity and horror, though weak, since we know that no one is really hurt, are felt quite purely, since they cannot, as they would in life, pass at once into actions of assistance.
A somewhat similar effect to that of the cinematograph can be obtained by watching a mirror in which a street scene is reflected. If we look at the street itself we are almost sure to adjust ourselves in some way to its actual existence. We recognize an acquaintance, and wonder why he looks so dejected this morning, or become interested in a new fashion in hats - the moment we do that the spell is broken, we art reacting to life itself in however slight a degree, but, in the mirror, it is easier to

(abstract ourselves completely, and look upon the changing scene as a whole. It then, at once, takes on the visionary quality, and we become true spectators, not selecting what we will see, but seeing everything equally, and thereby we come to notice a number of appearances and relations of appearances, which would have escaped our notice before, owing to that perpetual economizing by selection of what impressions we will assimilate, which in life we perform by unconscious processes.


The frame of the mirror, then, does to some extent turn the reflected scene from one that belongs to our actual life into one that belongs rather to the imaginative life. The frame of the mirror makes its surface into a very rudimentary work of art, since it helps us to attain to the artistic vision. For that is what, as you will already have guessed, I have been coming to all this time, namely that the work of art is intimately connected with the secondary imaginative life, which all men live to a greater or less extent.
That the graphic arts are the expression of the imaginative life rather than a cop;-of actual life might be guessed from observing children. Children, if left to them­selves, never, I believe, copy what they see, never, as we say, 'draw from nature', bui »express, with a delightful freedom and sincerity, the mental images which make up their own imaginative lives.
Art, then, is an expression and a stimulus of this imaginative life, which is

separated from actual life by the absence of responsive action. Now this responsive action implies in actual life moral responsibility. In art we have no such moral responsibility - it presents a life freed from the binding necessities of our actual existence.


What then is the justification for this life of the imagination which all human beings live more or less fully? To the pure moralist, who accepts nothing but ethical values, in order to be justified, it must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, since it absorbs our energies, positively harmful. To such a one two views are possible, one the Puritani­cal view at its narrowest, which regards the life of the imagination as no better or worse than a life of sensual pleasure, and therefore entirely reprehensible. The other view is to argue that the imaginative life does subserve morality. And this is inevitably the view taken by moralists like Ruskin, to whom the imaginative life is yet an absolute necessity. It is a view which leads to some very hard special pleading, even to a self-deception which is in itself morally undesirable.
But here comes in the question of religion, for religion is also an affair of the imaginative life, and, though it claims to have a direct effect upon conduct, I do not suppose that the religious person if he were wise would justify religion entirely by its effect on morality, since that, historically speaking, has not been by any means uniformly advantageous. He would probably say that the religious experience was one which corresponded to certain spiritual capacities of human nature, the exercise of which is in itself good and desirable apart from their effect upon actual life. And so, too, I think the artist might if he chose take a mystical attitude, and declare that the fullness and completeness of the imaginative life he leads may correspond to an existence more real and more important than any that we know of in mortal life.
And in saying this, his appeal would find a sympathetic echo in most minds, for most people would, I think, say that the pleasures derived from art were of an altogether different character and more fundamental than merely sensual pleasures, that they did exercise some faculties which are felt to belong to whatever part of us there may be which is not entirely ephemeral and material.
It might even be that from this point of view we should rather justify actual life by its relation to the imaginative, justify nature by its likeness to art. I mean this, that since the imaginative life comes in the course of time to represent more or less what mankind feels to be the completes! expression of its own nature, the freest use of its innate capacities, the actual life may be explained and justified by its approximation here and there, however partially and inadequately, to that freer and fuller life.
Before leaving this question of the justification of art, let me put it in another way. The imaginative life of a people has very different levels at different times, and these levels do not always correspond with the general level of the morality of actual life. Thus in the thirteenth century we read of barbarity and cruelty which would shock even us; we may, I think, admit that our moral level, our general humanity is decidedly higher today, but the level of our imaginative life is incomparably lower; we are satisfied there with a grossness, a sheer barbarity and squalor which would have shocked the thirteenth century profoundly. Let us admit the moral gain gladly, but do we not also feel a loss; do we not feel that the average businessman would be in every way a more admirable, more respectable being if his imaginative life were not so squalid and incoherent? And, if we admit any loss then, there is some function in human nature other than a purely ethical one, which is worthy of exercise.
Now the imaginative life has its own history both in the race and in the indiv­idual. In the individual life one of the first effects of treeing experience from the necessities of appropriate responsive action is to indulge recklessly the emotion of self-aggrandisement. The day-dreams of a child are filled with extravagant romances in which he is always the invincible hero. [. . .] But with the teaching of experience and the growth of character the imaginative life comes to respond to other instincts and to satisfy other desires, until, indeed, it reflects the highest aspirations and the deepest aversions of which human nature is capable.
In dreams and when under the influence of drugs the imaginative life passes out of our own control, and in such cases its experiences may be highly undesirable, but whenever it remains under our own control it must always be on the whole a desirable life. That is not to say that it is always pleasant, for it is pretty clear that mankind is so constituted as to desire much besides pleasure, and we shall meet among the great artists, the great exponents, that is, of the imaginative life, many to whom the merely pleasant is very rarely a part of what is desirable. But this desirability of the imaginative life does distinguish it very sharply from actual life. and this is the direct result of that first fundamental difference, its freedom from necessary external conditions. Art, then, is, if I am right, the chief organ of the imaginative life; it is by art that it is stimulated and controlled within us, and, as we have seen, the imaginative life is distinguished by the greater clearness of its perception, and the greater purity and freedom of its emotion.
First with regard to the greater clearness of perception. The needs of our actual life are so imperative, that the sense of vision becomes highly specialized in their service. With an admirable economy we learn to see only so much as is needful for our purposes; but this is in fact very little, just enough to recognize and identify each object or person; that done, they go into an entry in our mental catalogue and are no more really seen. In actual life the normal person really only reads the labels as it were on the objects around him and troubles no further. Almost all the things which are useful in any way put on more or less this cap of invisibility. It is only when an object exists in our lives for no other purpose than to be seen that we really look at it, as for instance at a china ornament or a precious stone, and towards such even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity.

Now this specialization of vision goes so far that ordinary people have almost no idea of what things really look like, so that oddly enough the one standard that pop­ular criticism applies to painting, namely, whether it is like nature or not, is one which most people are, by the whole tenor of their lives, prevented from applying properly. The only things they have ever really looked at being other pictures; the moment an artist who has looked at nature brings to them a clear report of something definitely seen by him, they are wildly indignant at its untruth to nature. This has happened so constantly in our own time that there is no need to prove it. One instance will suffice. Monet is an artist whose chief claim to recognition lies in the fact of his astonishing ' power of faithfully reproducing certain aspects of nature, but his really naive innocence and sincerity were taken by the public to be the most audacious humbug, and it required the teaching of men like Bastien-Lepage, who cleverly compromised between the truth and an accepted convention of what things looked like, to bring the world gradually round to admitting truths which a single walk in the country with purely unbiased vision would have established beyond doubt.


But though this clarified sense perception which we discover in the imaginative life is of great interest, and although it plays a larger part in the graphic arts than in any other, it might perhaps be doubted whether, interesting, curious, fascinating as it is, this aspect of the imaginative life would ever by itself make art of profound Importance to mankind. But it is different, I think, with the emotional aspect. We have admitted that the emotions of the imaginative are generally weaker than those of actual life. The picture of a saint being slowly flayed alive, revolting as it is, will not produce the same physical sensations of sickening disgust that a modern man would feel if he could assist at the actual event; but they have a compensating clearness of presentment to the consciousness. The more poignant emotions of actual life have, I think, a kind of numbing effect analogous to the paralysing influence of fear in some animals; but even if this experience be not generally admitted, all will admit that the need for responsive action hurries us along and prevents us from ever realizing fully what the emotion is that we feel, from coordinat­ing it perfectly with other states. In short, the motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. In the imaginative life, on the contrary, we can both feel the emotion and watch it. When we are really moved at the theatre we are always both on the stage and in the auditorium.
Yet another point about the emotions of the imaginative life - since they require no responsive action we can give them a new valuation. In real life we must to some extent cultivate those emotions which lead to useful action, and we are bound to appraise emotions according to the resultant action. So that, for instance, the feelings of rivalry and emulation do get an encouragement which perhaps they scarcely deserve, whereas certain feelings which appear to have a high intrinsic value get almost no stimulus in actual life. For instance, those feelings to which the name of the cosmic emotion has been somewhat unhappily given find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts.
Morality, then, appreciates emotion by the standard of resultant action. Art appreciates emotion in and for itself.

This view of the essential importance in art of the expression of the emotions is the basis of Tolstoy's marvellously original and yet perverse and even exasperating book, What is Art?, and I willingly confess, while disagreeing with almost all his results, how much I owe to him.


He gives an example of what he means by calling art the means of communicating emotions. He says, let us suppose a boy to have been pursued in the forest by a bear. If he returns to the village and merely states that he was pursued by a bear and escaped, that is ordinary language, the means of communicating facts or ideas; but if he describes his state first of heedlessness, then of sudden alarm and terror as the bear appears, and finally of relief when he gets away, and describes this so that his hearers share his emotions, then his description is a work of art.
Now in so far as the boy does this in order to urge the villagers to go out and kill the bear, though he may be using artistic methods, his speech is not a pure work of art; but if of a winter evening the boy relates his experience for the sake of the enjoyment of his adventure in retrospect, or better still, if he makes up the whole story for the sake of the imagined emotions, then his speech becomes a pure work of art. But Tolstoy takes the other view, and values the emotions aroused by art entirely

for their reaction upon actual life, a view which he courageously maintains even when it leads him to condemn the whole of Michelangelo, Raphael and Titian, and most of Beethoven, not to mention nearly everything he himself has written, as bad or false art.


Such a view would, I think, give pause to any less heroic spirit. He would wonder whether mankind could have always been so radically wrong about a function that, whatever its value be, is almost universal. And in point of fact he will have to find some other word to denote what we now call art. Nor does Tolstoy's theory even carry him safely through his own book, since, in his examples of morally desirable and therefore good art, he has to admit that these are to be found, for the most part, among works of inferior quality. Here, then, is at once the tacit admission that another standard than morality is applicable. We must therefore give up the attempt to judge the work of art by its reaction on life, and consider it as an expression of emotions regarded as ends in themselves. And this brings us back to the idea we had already arrived at, of art as the expression of the imaginative life.
If, then, an object of any kind is created by man not for use, for its fitness to actual life, but as an object of art, an object subserving the imaginative life, what will its qualities be? It must in the first place be adapted to that disinterested intensity of contemplation, which we have found to be the effect of cutting off the responsive action. It must be suited to that heightened power of perception which we found to result therefrom.
And the first quality that we demand in our sensations will be order, without which our sensations will be troubled and perplexed, and the other quality will be variety, without which they will not be fully stimulated.
It may be objected that many things in nature, such as flowers, possess these two qualities of order and variety in a high degree, and these objects do undoubtedly stimulate and satisfy that clear disinterested contemplation which is characteristic of the aesthetic attitude. But in our reaction to a work of art there is something more -there is the consciousness of purpose, the consciousness of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. And when we come to the higher works of art, where sensations are so arranged that they arouse in us deep emotions, this feeling of a special tie with the man who expressed them becomes very strong. We feel that he has expressed something which was latent in us all the time, but which we never realized, that he has revealed us to ourselves in revealing himself. And this recogni­tion of purpose is, I believe, an essential part of the aesthetic judgement proper.
The perception of purposeful order and variety in an object gives us the feeling which we express by saying that it is beautiful, but when by means of sensations our emotions are aroused we demand purposeful order and variety in them also, and if this can only be brought about by the sacrifice of sensual beauty we willingly overlook its absence.
Thus, there is no excuse for a china pot being ugly, there is every reason why Rembrandt's and Degas' pictures should be, from the purely sensual point of view, supremely and magnificently ugly.
This, I think, will explain the apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. Beauty in the former sense belongs to works of art where

only the perceptual aspect of the imaginative life is exercised, beauty in the second sense becomes as it were supersensual, and is concerned with the appropriateness and intensity of the emotions aroused. When these emotions are aroused in a way that satisfies fully the needs of the imaginative life we approve and delight in the sensations through which we enjoy that heightened experience because they possess purposeful order and variety in relation to those emotions.


One chief aspect of order in a work of art is unity; unity of some kind is necessary for our restful contemplation of the work of art as a whole, since if it lacks unity we cannot contemplate it in its entirety, but we shall pass outside it to other things necessary to complete its unity.
In a picture this unity is due to a balancing of the attractions of the eye about the central line of the picture. The result of this balance of attractions is that the eye rests willingly within the bounds of the picture. [. . .]
The moment representation is introduced forms have an entirely new set of values. Thus a line which indicated the sudden bend of a head in a certain direction would have far more than its mere value as line in the composition because of the attraction which a marked gesture has for the eye. In almost all paintings this disturbance of the purely decorative values by reason of the representative effect takes place, and the problem becomes too complex for geometrical proof.
This merely decorative unity is, moreover, of very different degrees of intensity in different artists and in different periods. The necessity for a closely woven geometrical texture in the composition is much greater in heroic and monumental design than in genre pieces on a small scale. [. . .]
Let us now see how the artist passes from the stage of merely gratifying our demand for sensuous order and variety to that where he arouses our emotions. I will call the various methods by which this is effected the emotional elements of design.

The first element is that of the rhythm of the line with which the forms are delineated.


The drawn line is the record of a gesture, and that gesture is modified by the artist's feeling which is thus communicated to us directly.
The second element is mass. When an object is so represented that we recognize it as having inertia, we feel its power of resisting movement, or communicating its own movement to other bodies, and our imaginative reaction to such an image is governed by our experience of mass in actual life.
The third element is space. The same-sized square on two pieces of paper can be made by very simple means to appear to represent either a cube two or three inches high, or a cube of hundreds of feet, and our reaction to it is proportionately changed.
The fourth element is that of light and shade. Our feelings towards the same object become totally different according as we see it strongly illuminated against a black background or dark against light.
A fifth element is that of colour. That this has a direct emotional effect is evident from such words as gay, dull, melancholy in relation to colour.
I would suggest the possibility of another element, though perhaps it is only a compound of mass and space: it is that of the inclination to the eye of a plane, whether it is impending over or leaning away from us.
Now it will be noticed that nearly all these emotional elements of design are connected with essential conditions of our physical existence: rhythm appeals to all the sensations which accompany muscular activity; mass to all the infinite adaptations to the force of gravity which we are forced to make; the spatial judgement is equally profound and universal in its application to life; our feeling about inclined planes is connected with our necessary judgements about the conformation of the earth itself; light, again, is so necessary a condition of our existence that we become intensely sensitive to changes in its intensity. Colour is the only one of our elements which is not of critical or universal importance to life, and its emotional effect is neither so deep nor so clearly determined as the others. It will be seen, then, that the graphic arts arouse emotions in us by playing upon what one may call the overtones of some of our primary physical needs. They have, indeed, this great advantage over poetry, that they can appeal more directly and immediately to the emotional accom­paniments of our bare physical existence.
If we represent these various elements in simple diagrammatic terms, this effect upon the emotions is, it must be confessed, very weak. Rhythm of line, for instance, is incomparably weaker in its stimulus of the muscular sense than is rhythm addressed to the ear in music, and such diagrams can at best arouse only faint ghost-like echoes of emotions of differing qualities; but when these emotional elements are combined with the presentation of natural appearances, above all with the appearance of the human body, we find that this effect is indefinitely heightened.

[...]
At this point the adversary (as Leonardo da Vinci calls him) is likely to retort, 'You have abstracted from natural forms a number of so-called emotional elements which you yourself admit are very weak when stated with diagrammatic purity; you then put them back, with the help of Michelangelo, into the natural forms whence they were derived, and at once they have value, so that after all it appears that the natural forms contain these emotional elements ready made up for us, and all that art need do is to imitate Nature.'


But alas! Nature is heartlessly indifferent to the needs of the imaginative life; [. . .] Assuredly we have no guarantee that in nature the emotional elements will be combined appropriately with the demands of the imaginative life, and it is, I think, the great occupation of the graphic arts to give us first of all order and variety in the sensuous plane, and then so to arrange the sensuous presentment of objects that the emotional elements are elicited with an order and appropriateness altogether beyond what Nature herself provides.
Let me sum up for a moment what I have said about the relation of art to Nature, which is, perhaps, the greatest stumbling-block to the understanding of the graphic arts.
I have admitted that there is beauty in Nature, that is to say, that certain objects constantly do, and perhaps any object may, compel us to regard it with that intense disinterested contemplation that belongs to the imaginative life, and which is impossible to the actual life of necessity and action; but that in objects created to arouse the aesthetic feeling we have an added consciousness of purpose on the part of the creator, that he made it on purpose not to be used but to be regarded and enjoyed; and that this feeling is characteristic of the aesthetic judgement proper.
When the artist passes from pure sensations to emotions aroused by means of sensations, he uses natural forms which, in themselves, are calculated to move our emotions, and he presents these in such a manner that the forms themselves generate in us emotional states, based upon the fundamental necessities of our physical and physiological nature. The artist's attitude to natural form is, therefore, infinitely various according to the emotions he wishes to arouse. He may require for his purpose the most complete representation of a figure, he may be intensely realistic, provided that his presentment, in spite of its closeness to natural appearance, disengages clearly for us the appropriate emotional elements. Or he may give us the merest suggestion of natural forms, and rely almost entirely upon the force and intensity of the emotional elements involved in his presentment.

We may, then, dispense once for all with the idea of likeness to Nature, of correctness or incorrectness as a test, and consider only whether the emotional elements inherent in natural form are adequately discovered, unless, indeed, the emotional idea depends at any point upon likeness, or completeness of representa­tion.


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