The Atlantic Monthly, Volume 05, No. 27, January, 1860

Various

Various

The Atlantic Monthly, Volume 05, No. 27, January, 1860 / A Magazine of Literature, Art, and Politics

OUR ARTISTS IN ITALY

HIRAM POWERS.

Antique Art, beside affording a standard by which the modern may be measured, has the remarkable property-giving it a higher value—of testing the genuineness of the Art-impulse.

Even to genius, that is, to the artist, a true Art-life is difficult of attainment. In the midst of illumination, there is the mystery: the subjective mystery, out of which issue the germs—like seeds floated from unknown shores—of his imaginings; the objective mystery, which yields to him, through obvious, yet unexplained harmonies, the means of manifestation.

Behind the consciousness is the power; behind the power, that which gives it worth and occupation.

To the artist definite foresight is denied. His life is full of surprises at new necessities. When the present demand shall have been fulfilled, what shall follow? Shall it be Madonna, or Laocoön? His errand is like that of the commander who bears sealed instructions; and he may drift for years, ere he knows wherefore. Thorwaldsen waited, wandering by the Tiber a thousand days,—then in one, uttered his immortal "Night."

Not even the severest self-examination will enable one in whom the Art-impulse exists to understand thoroughly its aim and uses; yet to approximate a clear perception of his own nature and that of the art to which he is called is one of his first duties. What he is able to do, required to do, and permitted to do, are questions of vital importance.

Possession of himself, of himself in the highest, will alone enable the student in Art to solve the difficulties of his position. His habitual consciousness must be made up of the noblest of all that has been revealed to it; otherwise those fine intuitions, akin to the ancient inspirations, through whose aid genius is informed of its privileges, are impossible.

Therefore the foremost purpose of an artist should be to claim and take possession of self. Somewhere within is his inheritance, and he must not be hindered of it. Other men have other gifts,—gifts bestowed under different conditions, and subject in a great degree to choice. Talent is not fastidious. It is an instrumentality, and its aim is optional with him who possesses it. Genius is exquisitely fastidious, and the man whom it possesses must live its life, or no life.

In view of these considerations, the efforts of an artist to assume his true position must be regarded with earnest interest, and importance must be attached to that which aids him in attaining to his true plane.

Such aid may be, and is, derived from the influences of Italy. Of those agencies which have a direct influence upon the action of the artist, which serve to assist him in manifesting his idea and fulfilling his purpose, mention will be made in connection with the works which have been produced in Italian studios. They have less importance than that great element related to the innermost of the artist's life,—to that power of which we have spoken, making Art-action necessary.

It is not, however, exclusively antique Art which exercises this power of elevation. Ancient Art may be a better term; as all great Art bears a like relation to the student. In Florence the mediaeval influences predominate. Rome exercises its power through the medium of the antique.

There is much Christian Art in Rome. Yet its effect is insignificant, compared with that of the vast collection of Greek sculptures to be found within its walls. Instinctively, as the vague yearnings and prophecies of youth lift him in whom they quicken away from youth's ordinary purposes and associations, his thought turns to that far city where are gathered the achievements of those who were indeed the gods of Hellas. To be there, and to demand from those eloquent lips the secret of the golden age, is his dream and aim, and there shall be solved the problem of his life.

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