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artistic production
1. basis for artistic production
2. Partly it was the reception of his own artistic production that tickled him; partly the notion of his grave cousin as the lover of that girl; and partly Mr
3. Thus it said in one issue of a newspaper that the dinner was "an artistic production:"
4. I have long ago formed a rule to judge every artistic production from three sides: (1) from the side of its contents,—in how far that which is revealed by the artist from a new side is important and necessary for men, because every production is a production of art only when it reveals a new side of life; (2) to what extent the form of the production is good, beautiful, and in correspondence with the contents; and (3) in how far the relation of the artist to his subject is sincere, that is, in how far he believes in what he represents
5. This last quality always seems to me to be the most important one in an artistic production
6. It gives to an artistic production its force, makes an artistic production infectious, that is, evokes in the hearer and reader those sensations which the artist experiences
7. But, to judge from the small volume which I had read, he was devoid of the chief condition necessary, besides talent, for a truly artistic production
8. From what I had read, I was convinced that Maupassant possessed talent, that is, the gift of attention, which in the objects and phenomena of life revealed to him those qualities which are not visible to other men; he also possessed a beautiful form, that is, he expressed clearly, simply, and beautifully what he wished to say, and also possessed that condition of the worth of an artistic production, without which it does not produce any effect,—sincerity,—that is, he did not simulate love or hatred, but actually loved and hated what he described
9. But, unfortunately, being devoid of the first, almost the most important condition of the worth of an artistic production, of the correct, moral relation to what he represented, that is, of the knowledge of the difference between good and evil, he loved and represented what it was not right to love and represent, and did not love and did not represent what he ought to have loved and represented
10. Besides the remarkable power of his talent, that is, of that peculiar, strained attention, directed upon an object, in consequence of which the author sees entirely new features in the life which he is describing, this novel combines, almost to an equal degree, all three conditions of a true artistic production: (1) the correct, that is, the moral, relation of the author to the subject, (2) the beauty of form, and (3) sincerity, that is, love for what the author describes
11. In all his novels after Bel-Ami (I am not speaking now of his shorter stories, which form his chief desert and fame,—of them I shall speak later), Maupassant obviously surrendered himself to the theory, which not only existed in his circle in Paris, but which now exists everywhere among artists, that for an artistic production we not only need have no clear conception of what is good and what bad, but that, on the contrary, the artist must absolutely ignore all moral questions,—that in this does a certain merit of the artist consist
12. People who are not very sensitive to art frequently imagine that an artistic production forms one whole, because the same persons act in it all the time, because everything is constructed on one plot, or because the life of one man is described
13. That only seems so to the superficial observer: the cement which binds every artistic production into one whole and so produces the illusion of a reflection of life is not the unity of persons and situations, but the unity of the original, moral relation of the author to his subject
14. In reality, when we read or contemplate an artistic production by a new author, the fundamental question which arises in our soul is always this: "Well, what kind of a man are you? How do you differ from all other men whom I know, and what new thing can you tell me about the way we ought to look upon our life?" No matter what the artist may represent,—saints, robbers, kings, lackeys,—we seek and see only the artist's soul
15. If he is an old, familiar artist, the question is no longer, "Who are you?" but, "Well, what new thing can you tell me? From what new side will you now illumine my life for me?" And so an author who has no definite, clear, new view of the world, and still more so the one who does not consider this to be necessary, cannot give an artistic production
16. He can write beautifully, and a great deal, but there will be no artistic production
17. In his first two novels, especially in the first, Une Vie, there was that clear, definite, new relation to life, and so there was an artistic production; but as soon as he, submitting to the fashionable theory, decided that there is no need whatever for this relation of the author to life, and began to write only in order to faire quelque chose de beau, his novels ceased to be artistic productions
18. New novels and poems, in separate volumes or in the magazines, appear almost every day, and the newspapers consider it their duty to give their readers detailed accounts of these artistic productions
19. on that which pleases), and seek a general definition, which should apply to all artistic productions, and by reference to which we might decide whether a certain article belonged to the realm of art or not
20. —either define nothing at all, or define only some traits of some artistic productions, and are far from including all that everybody has always held, and still holds, to be art
21. And imitators appear—an innumerable host of imitators of these abnormal attempts at artistic productions which Beethoven wrote when he was deaf
22. The receptive feeling for art of these people is atrophied, and in valuing artistic productions they must be guided by discussion and study, which discussion and study completely confuse them
23. I must, moreover, mention that I consign my own artistic productions to the category of bad art, excepting the story "God sees the Truth," which seeks a place in the first class, and "The Prisoner of the Caucasus," which belongs to the second
24. The first of these articles on the Farnese Hera appeared in the Bullettino dell' Instituto, in 1846, and is described as the "first attempt at the analytical consideration of the ideal of a Greek God," while the entire series may be taken as evidence that "the intellectual understanding of ideal artistic productions can be reached only on the basis of a thorough analysis of form