The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1894-12-30
MOTIVE IN ART.

That astute critic, j. G.. Van Dyke, in his
principles OF Art" has said that it is not
the aim OF art to inculcate truth or moral
ity This is sad commentary the mo-
tive that underlies art, and strikes at the
basal element of it's very existence. There
is no more important, potent factor in any
and all lines of human thought and man.
ners than motive. History is replete with
examples that motive, malevolent and be-
nevolent, have moved the world and made
the history that has been made. Why do
men do things? Why do they paint at all?
Unless motive calls forth action. the acct
dental must predominant, and while il is
conceded to DE an element in the affairs of
the world. it plays very small part.
hold that truth and morality are the founda-
ton stones on which is builded all char
acter, and the lack of it is accompanied
with corresponding lack of character. If
the artist is nor under any obligation to tell
the truth, then who is? The great of earth,
in whatever lines. have been moved by
benevolent motives. There have been no
table exceptions. as Napoleon Bonaparte;
but the exceptions prove the rule, and what
more forcible moral lesson can be drawn
from the pages of history than the melan-
choly ending of that misdirected military
genius? Actuated by the most selfish mo-
tives, greeding and lusting after the mo-
nopoly of the whole earth, he falls a pitt
full victim at last TO his own selfish ambi-
ton. 1t is truism that mo man can live
unto himself" The artist who would move
men, make the world better by his having
lived in il, must hide behind his work and
aim to make men better by looking on his
pictures We free, but not lawlessly
free. Society necessarily lays some restric-
lions upon us and seeks to bring our acts
within the range OF beneficial operations.
As against Mr.. Van Dyke, say it is the
business and privilege or art TO preach, and
plead, and pray, If you please Who could
deliver more profound discourse than III.
De Munkacsy has done in his Christ Be
fore Platter" The low hate and remorse-
less cunning are written in every line of
the countenances of the prosecutors. In
perplexity Pontius PLATE strives to mete
out Roman justice. but political complica-
tons set in, and We find the strong man
faltering. Jerusalem is inundated with
rlotous mob clamoring for the death of the
Nazarene. NicodemuS looks the whole
scene with that religious candor that per-
meates his nature, and so impressed Is he
with the calm, yet fearless, demeanor Of
the prisoner who has given him unmistak-
able proofs Of his superiority that he re-
solves, while he sits at this mock trial,
though he cannot overrule the prejudices
OF the hour, nor stem the tide Of 1nerciless
fury, he will render a willing service to him
who has honestly denounced his sect as
hypocriticaI. The Christ. me thinks. is the
historical. human Christ who looks strong
ly into the eye OF the wavering procurator,
and says in a language stronger than words
can utter, Thou canst have no power
against me at ALL" Verestchagin has min
istered toward the peace of the world by
portraying In shocking fashion, the hor-
rors of war Millet rises to that plane OF
beautiful devotion in The Angelus.'
Michael Angelo. hampered as he was by the
church, out Of his unbounded love for it's
holier teachings, ordered the priests out Of
his presence while he transferred those i'm
mortal conceptions to the ceilings of st.
Peters. Those pleading eyes Of Raphaels
Madonna touch more inconsolate souls into
newer life than we can hardly count. 1t is
unnecessary to extend the catalogue of
names of those who though dead their
works still live and speak to u.s. and stir
within US loftier thoughts and nobler am
billions. Could they have done this il they
had not been pervaded by truth and moral
ity, not to say spirituality? On the other
hand, Bougereau's "Faun" exhibits a glar-
Ing unrealty and shocking immodesty that
offends cultured eye and is fittingly rele-
gated TO adorn the walls of the gilded sa-
loon, where a low plane of morality is ex-
pected, at best Such skill in drawing is
worthy OF higher motive. Tintoretto
sought out the harmony of good feeling,
and so deep did that feeling run that few
have fathomed IL. His mind glowed with
warm coloring. Paint with feeling is
about the only absolute rule that can be
laid down in art. No one ever succeeded in
doing anything worth remembering that
was not capable Of strong feeling and SYM
pathy. The artist reflects himself in his
works; he literally paints his own charac-
ter. His productions will be pure and beau
tiful, corresponding with his soul. One can
not be compared TO another, but the highest
criterion Is the same as in poetry and
oratory, viz that he should feel in an emf
nent way what others have felt; and ex-
press in his own way, but in a way they
cannot express In short, he expresses the
philosophy of human experience, and the
truer to that experience and life, the longer
1t will endure. A strong intellectually,
broad philosophy, a sound morality and I'M
bounded MISREPRESENTATION in the sense of
well-directed ambition; inspiration. in the
sense of being everlastingly in earnest and
desperation. lest he fail of II ALL
A. MONTGOMERY.
Indianapolis, Dec. %.