By Isabel del Rio
Here, the preface of ‘The Picture of Dorian Gray’ by Oscar Wilde. A declaration of what is Art, or maybe Arts because Wild uses this word in the Latin sense, and Art (with capital letter) includes Music, Literature, Dramatization and Plastic expressions.
‘An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything.’ Wilde says and, yes, Art must be away from worldly
Concerns since Art is looking for hidden worlds, authentic for the life of any person though not material or practical.
‘We can forgive a man for making a useful thing as long as he does not admire it.’ Wilde keeps on saying and, yes, what we must admire in artists is the intention (sometimes superhuman) of dialoguing with gods trying to understand the real questions: Why are we in this world? What is the limit of good and evil? Or, even, does that limit exist?
‘The Picture of Dorian Gray’ is an attempt to see our two sides and to dare to cross the mirror of our instincts and, then, to reach our primitive origins, at the time that man was born: why and for what? The question remains in the air, it is the same question that religion or philosophy try to answer but, in my opinion, Art is in a better to answer because it is neither dogmatic nor forget the feelings.
My religion is Art, my philosophy is Art and Art my mirror: the mirror of Dorian Gray.
The picture of Dorian Gray, by Oscar Wilde, 1890
The artist is the creator of beautiful things.
To reveal art and conceal the artist is art’s aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming.
This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.
They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written.
That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass.
The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved.
No artist has ethical sympathies.
An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything.
Thought and language are to the artist instruments of an art.
Vice and virtue are to the artist materials for an art.
From the point of view of form, the type of all the arts is the art of the musician.
From the point of view of feeling, the actor’s craft is the type.
All art is at once surface and symbol.
Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree, the artist is in accord with himself.
We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.