The Organisation Of Art

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Title:     The Organisation Of Art
Author: George Augustus Moore [More Titles by Moore]

No fact is more painful to the modern mind than that men are not born with equal brains; and every day we grow more and more determined to thwart Nature's desire of inequality by public education. Whether everybody should be taught to read and write I leave to politicians--the matter is not important; but that the nation should not be instructed in drawing, music, painting, and English literature I will never cease to maintain. Everything that has happened in England for the last thirty years goes to prove that systematised education in art means artistic decadence.

To the ordinary mind there is something very reassuring in the words institutions, professors, examinations, medals, and titles of all kinds. All these things have been given of late years to art, and parents and guardians need no longer have any fear for those confided to their charge: the art of painting has been recognised as a profession! The principal institution where this profession is practised is called the Royal Academy. It owes its existence to the taste of a gentleman known as George the Third, and it has been dowered by the State to the extent of at least three hundred thousand pounds. Professors from Oxford, even bishops, dine there. The members of this institution put R.A. after their names; the president has been made a baronet; there was even a rumour that he was going to be made a lord, and that he was not we must consider as another blow dealt against the dignity of art.

Literature does not offer so much scope for organisation as painting; but strenuous efforts are being made to organise it, and, by the aid of academies, examinations, and crowns, hopes are entertained that, before long, it will be brought into line with the other professions. And the journalists too are anxious to "erect their craft to the dignity of a profession which shall confer upon its members _certain social status_ like that of the barrister and lawyer". Entrance is to be strictly conditional; no one is to have a right to practice without a diploma, and members are to be entitled to certain letters after their names. A movement is on foot to Churton-Collinise English literature at the universities, and every month Mr. Walter Besant raises a wail in the _Author_ that the peerage is not as open to three-volume novelists as it is to brewers. He bewails the fact that no eminent man of letters, with the exception of Lord Tennyson, has been made the enforced associate of brewers and politicians. Mr. Besant does not think that titles in these democratic days are foolish and absurd, pitiful in the personality of those who own them by inheritance, grotesque in the personality of those on whom they have been conferred. Mr. Besant does not see that the desire of the baker, the brewer, the butcher, and I may add the three-volume novelist, to be addressed by small tradesmen and lackeys as "yer lordship", raises a smile on the lips even of the most _blase_.

I am advocating an unpopular _regime_ I know, for the majority believe that art is in Queer Street if new buildings are not being raised, if official recognition of merits is not proclaimed, and if the newspapers do not teem with paragraphs concerning the homes of the Academicians. The wailing and gnashing of teeth that were heard when an intelligent portion of the Press induced Mr. Tate to withdraw his offer to build a gallery and furnish it with pictures by Messrs. Herkomer, Fildes, Leader, Long, are not forgotten. It was not urged that the pictures were valuable pictures; the merit or demerit of the pictures was not what interested, but the fact that a great deal of money was going to be spent, and that titles, badges, medals, crowns, would be given to those whose pictures were enshrined in the new temple of art. The Tate Gallery touched these folk as would an imposing review of troops, a procession of judges, or a coronation in Westminster Abbey. Their senses were tickled by the prospect of a show, their minds were stirred by some idea of organisation--something was about to be organised, and nothing appeals so much to the vulgar mind as organisation.

An epoch is represented by a word, and to organise represents the dominant idea of our civilisation. To organise is to be respectable, and as every one wants to be respectable, every one dreams of new schemes of organisation. Soldiers, sailors, policemen, members of parliament, independent voters, clerks in the post office, bus drivers, dockers, every imaginable variety of worker, domestic servants--it is difficult to think of any class that has not been organised of late years.

There is a gentleman in parliament who is anxious to do something in the way of social organisation for the gipsies. The gipsies have not appealed to him; they have professed no desire to have their social status raised; they have, I believe, disclaimed through their king, whoever he may be, all participation in the scheme of this benevolent gentleman. Nor does any sense of the absurdity of his endeavour blight the worthy gentleman's ardour. How should it? He, like the other organisers, is an unreasoning instrument in a great tendency of things. To organise something--or, put it differently, to educate some one--is to day every man's ambition. So long as it is not himself, it matters no jot to him whom he educates. The gipsy under the hedge, the artist painting under a hill, it matters not. A technical school of instruction would enable the gipsy to harness his horse better than he does at present; and the artist would paint much better if he were taught to stipple, and examined by salaried professors in stipple, and given prizes for stippling. The general mind of our century is with education and organisation of every kind, and from this terrible general mind art seems unable to escape. Art, that poor little gipsy whose very condition of existence is freedom, who owns no code of laws, who evades all regulations, who groups himself under no standard, who can live only in disastrous times, when the world's attention is drawn to other things, and allows him life in shelter of the hedges, and dreams in sight of the stars, finds himself forced into a uniform--poor little fellow, how melancholy he looks on his high stool in the South Kensington Museum, and notwithstanding the professors his hand drops from the drawing-board, unable to accomplish the admired stipple.

But solemn members of parliament are certain that official recognition must be extended to art. Art is an educational influence, and the Kensington galleries are something more than agreeable places, where sweethearts can murmur soft nothings under divine masterpieces. The utilitarian M.P. must find some justification for art; he is not sensible enough to understand that art justifies its own existence, that it is its own honour and glory; and he nourishes a flimsy lie, and votes that large sums of money shall be spent in endowing schools of art and founding picture galleries. Then there is another class--those who have fish to fry, and to whom art seems a convenient frying-pan. Mr. Tate craves for a museum to be called Tate's; or, if his princely gift gained him a title, which it may, the museum would be called--What would be an appropriate name? There are men too who have trifles to sell, and they talk loudly of the glories of modern art, and the necessity of a British Luxembourg.

That France should have a Luxembourg is natural enough; that we should have one would be anomalous. We are a free-trading country. I pass over the failure of the Luxembourg to recognise genius, to save the artist of genius a struggle with insolent ignorance. What did the Luxembourg do for Corot, Millet, Manet, Degas, Monet, Renoir, Sisley, Pissaro? The Luxembourg chose rather to honour such pretentious mediocrities as Bouguereau, Jules Lefebvre, Jules Breton, and their like. What has our Academy done to rescue struggling genius from poverty and obscurity? Did it save Alfred Stevens, the great sculptor of his generation, from the task of designing fire-irons? How often did the Academy refuse Cecil Lawson's pictures? When they did accept him, was it not because he had become popular in spite of the Academy? Did not the Academy refuse Mr. Whistler's portrait of his mother, and was it not hung at the last moment owing to a threat of one of the Academicians to resign if a place was not found for it? Place was found for it seven feet above the line. Has not the Academy for the last five-and-twenty years lent the whole stress and authority of its name to crush Mr. Whistler? Happily his genius was sufficient for the fight, and it was not until he had conquered past all question that he left this country. The record of the Academy is a significant one. But if it has exercised a vicious influence in art, its history is no worse than that of other academies. Here, as elsewhere, the Academy has tolerated genius when it was popular, and when it was not popular it has trampled upon it.

We have Free Trade in literature, why should we not have Free Trade in art? Why should not every artist go into the market without title or masquerade that blinds the public to the value of what he has to sell? I would turn art adrift, titleless, R.A.-less, out into the street and field, where, under the light of his original stars, the impassioned vagrant might dream once more, and for the mere sake of his dreams.

[The end]
George Moore's essay: Organisation Of Art

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