The Spectrum of Art

“All art conspires toward the condition of music.” Walter Pater

I agree with Mr. Pater, one of Oscar Wilde’s influences and a proponent of Aestheticism (Art for art’s sake, i.e., neither social nor political).

Artists must create. It is in their blood and must be birthed onto the canvas. I use the word “birthed” purposely. I have seen the great effort artists willingly undertake to create art from nothing. As the blank page stares back at the writer, so does the white canvas mock the artist. The effort required to transform nothingness into art is akin to birth.

I once needed help with where to rank photography in the order of the arts. Artists must labor (pun intended) over their work to bring their vision onto the canvas, but the photographer “simply” captures the world before them. Now, I do not dismiss the intimate understanding the photographer has over their instrument nor the “eye” they must exercise when capturing the scene before them. However, historically at least, once the shutter is activated, most of the artistic influence of the photographer is exhausted. True, in days of old, efforts could be taken by the photographer with the development process (more additive here, more time there) to bump up the contrast or wash out a double exposure. And today, image editing software can transform any photo into a masterpiece with masking, editing, filters, and many other tools. But is that just window-dressing of an existing property? When I was younger, I would have agreed. However, I now believe photography blends perfectly well into the prism of art without hesitation or equivocation.

Allow me to diverge into another art form, music. Here, Mr. Pater is spot on. I have always said musical genres speak to the individual emotions of humans. Whatever mood I am in, there is music that matches it. A sad song can spark creativity in me. Black Sabbath can assuage my anger. Jazz can even out my temperament. Classical can elevate my senses. Smart, clever lyrics can drive me to my keyboard. A David Gilmour solo can transcend words altogether. Unlike other art forms, music elicits emotion from the audience via the ears rather than the eyes. Certain composers can tell a story with their music without the employment of any other sense.

I once attended a performance of Mozart’s Piano Concerto No. 22 in E-flat major, where a fully-fledged story presented itself in my mind. As it began, the piano sounded very playful, almost childlike, not in its complexity but in how it meandered in and out of the string instruments behind it. At some point, I imagined the piano as a child and the stringed instruments as the parents and extended family. The strings would play a piece first, and the piano would respond, often playful but still in keeping with the string direction. It was always strings first and then piano. Sometimes the piano would go off into a new direction without accompaniment as if a child was wandering around in the safety of the family’s embrace.

The second piece introduced the wind instruments (who’d been there all along but had yet to stand out). Because of the increased complexity of the music, I envisioned the piano as a teen beginning to interact with the wind instruments, which I saw as friends/schoolmates/lovers/colleagues. The piano would sometimes lead, and the wind instruments would follow. And then the strings would return with the refrain, telling the piano to come back into the fold and remember its responsibilities.

The third piece saw the ascension of the piano to a full-grown man (I say man because Emanuel Ax was the pianist, it could have been a fully-grown woman). The piano-led, and the strings followed. The piano assumed the refrain to which the strings (and sometimes the winds) would follow, but always with a sense of individuality and playfulness in the piano. It was as if the piano was now the patriarch/matriarch of the family and responsible for it, but it had never given up its individualistic flair. Perhaps I heard what I wanted to hear to make the story fit, but after the first piece, I anxiously awaited the next piece to see if my storyline fit- and it did every time.

By the end, I was in tears, weeping for the story Mozart had told me that day, written 234 years before. I had listened to the concerto over the previous few months, anticipating the performance. Still, there was something about seeing the piano up front, the strings extending as wings behind it, and the wind instruments centered in the back that made the story explode before my eyes. If this all sounds incredibly corny and uncultured, or if I’m missing the true intent of the concerto, I apologize. But as I sat there applauding, tears running down my face, I knew I had seen the storytelling power of music.

Painters can do the same thing with their medium. Stand before a Bierstadt landscape, and I swear you can hear far-off thunder or birds chirping. Stand before a Monet, and I promise you’ll see the wind interact with the haystacks. Stand before a Michelangelo, and I swear you’ll see muscles tense before your eyes.

Ultimately, the difference between painters, sculptors, composers, and photographers is one of perspective. Painters and sculptors offer you their vision. Impressionists do not provide you with a photorealistic version of the scene before them. Instead, they offer you their interpretation of that scene. You, the viewer, can choose what to see in the offering. Stand up close, and you’ll see the artist’s effort, brush strokes, and palette knife sweeps. Stand back, and you see sunlight where a smudge was, passion where disparate colors touched up close. Same with the sculptor. Go to a museum and listen as a docent regales a group with seemingly pretentious interpretations of the work before them. But do listen! Because while you may disagree with things being said or not “get” specific points, they offer you a vision into the artist, a glimpse into their intent.

The difference between viewing a painter’s or sculptor’s interpretation of the world before them and the photographer’s is a shift in perspective. As a viewer of paintings and sculptures, we are a passive audience of another’s life. As a viewer of photography, perhaps because it is easier for our 3D brains to insert us into a realistic 2D scene, we are the center of the world, active rather than passive. We see a photo of the shore and envision ourselves in that place. We see a picture of the mountains and ourselves on the plains before them. We may recollect a memory from a photograph of a familiar subject that fills us with the accompanying emotions. Alternatively, we may inject ourselves into an unknown scene, envisioning ourselves in that space and projecting matching feelings.

Mr. Pater is correct in that all art aspires to the purity of music in that music exists beyond our eyes. But in the end, whether it is photography, painting, music, sculpture, poetry, or prose, they all live on the spectrum of art. Ultimately, the spectrum of art is another analogy for the full scope of human emotion.