pened 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 salable, 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. CHAPTER 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 Christen dom, 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 to-day, 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, wornout religious teaching,Church art, patriotic art, volup tuous 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 hangerson, but will consist of all those gifted members of the whole people who prove capable of, and are inclined toward, 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 to-day 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. Ánd 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 elemenitary 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, even if the elements of drawing and music were not to be taught in the national schools, the technique will not only not deteriorate, but, as is shown by all peasant art, will be a hundred times better. It will be improved, because all the artists of genius now hidden among the masses will become producers of art and will give models of excellence, which (as has always been the case) will be the best schools of technique for their successors. For every true artist, even now, learns his technique, chiefly, not in the schools, but in life, from the examples of the great masters; then when the producers of art will be the best artists of the whole nation, and there will be more such examples, and they will be more accessible such part of the school training as the future artist will lose will be a hundredfold compensated for by the training he will receive from the numerous examples of good art diffused in society. Such will be one difference between present and future art. Another difference will be that art will not be produced by professional artists receiving payment for their work and engaged on nothing else besides their art. The art of the future will be produced by all the members of the community who feel the need of such activity, but they will occupy themselves with art only when they feel such need. ters. In our society people think that an artist will work better, and produce more, if he has a secured maintenance. And this opinion would serve once more to show clearly, were such demonstration still needed, that what among us is considered art is not art, but only its counterfeit. It is quite true that for the production of boots or loaves division of labor is very advantageous, and that the bootmaker or baker who need not prepare his own dinner or fetch his own fuel will make more boots or loaves than if he had to busy himself about these matBut art is not a handicraft; it is the transmission of feeling the artist has experienced. And sound feeling can only be engendered in a man when he is living on all its sides the life natural and proper to mankind. And therefore security of maintenance is a condition most harmful to an artist's true productiveness, since it removes him from the condition natural to all men, that of struggle with nature for the maintenance of both his own life and that of others, and thus deprives him of opportunity and possibility to experience the most important and natural feelings of man. There is no position more injurious to an artist's productiveness than that position of complete security and luxury in which artists usually live in our society. The artist of the future will live the common life of man, earning his subsistence by some kind of labor. The fruits of that highest spiritual strength which passes through him he will try to share with the greatest pos sible number of people, for in such transmission to others of the feelings that have arisen in him he will find his happiness and his reward. The artist of the future will be unable to understand how an artist, whose chief delight is in the wide diffusion of his works, could give them only in exchange for a certain payment. Until the dealers are driven out, the temple of art will not be a temple. But the art of the future will drive them out. And therefore the subject-matter of the art of the future, as I imagine it to myself, will be totally unlike that of to-day. It will consist, not in the expression of exclusive feelings: pride, spleen, satiety, and all possible forms of voluptuousness, available and interesting only to people who, by force, have freed themselves from the labor natural to human beings; but it will consist in the expression of feelings experienced by a man living the life natural to all men and flowing from the religious perception of our times, or of such feelings as are open to all men without exception. To people of our circle who do not know and cannot or will not understand the feelings which will form the subject-matter of the art of the future, such subjectmatter appears very poor in comparison with those subtleties of exclusive art with which they are now occupied. "What is there fresh to be said in the sphere of the Christian feeling of love of one's fellow-man? The feelings common to every one are so insignificant and monotonous," think they. And yet, in our time, the really fresh feelings can only be religious, Christian feelings, and such as are open, accessible, to all. The feelings flowing from the religious perception of our times, Christian feelings, are infinitely new and varied, only not in the sense some people imagine, — not that they can be evoked by the depiction of Christ and of gospel episodes, or by repeating in new forms the Christian truths of unity, brotherhood, equality, and love, but in that all the oldest, commonest, and most hackneyed phenomena of life evoke the newest, most unexpected, and touching - |