Picture and Text. Генри Джеймс
they have mysteries more absorbing than any others. I find in Harper, in 1885. “A Wild-goose Chase” through North Germany and Denmark, in which both pencil and pen are Mr. Millet’s, and both show the natural and the trained observer.
He knows the art-schools of the Continent, the studios of Paris, the “dodges” of Antwerp, the subjects, the models of Venice, and has had much æsthetic as well as much personal experience. He has draped and distributed Greek plays at Harvard, as well as ridden over Balkans to post pressing letters, and given publicity to English villages in which susceptible Americans may get the strongest sensations with the least trouble to themselves. If the trouble in each case will have been largely his, this is but congruous with the fact that he has not only found time to have a great deal of history himself, but has suffered himself to be converted by others into an element—beneficent I should call it if discretion did not forbid me—of their history. Springing from a very old New England stock, he has found the practice of art a wonderful antidote, in his own language, “for belated Puritanism.” He is very modern, in the sense of having tried many things and availed himself of all of the facilities of his time; but especially on this ground of having fought out for himself the battle of the Puritan habit and the æsthetic experiment. His experiment was admirably successful from the moment that the Puritan levity was forced to consent to its becoming a serious one. In other words, if Mr. Millet is artistically interesting to-day (and to the author of these remarks he is highly so), it is because he is a striking example of what the typical American quality can achieve.
He began by having an excellent pencil, because as a thoroughly practical man he could not possibly have had a weak one. But nothing is more remunerative to follow than the stages by which “faculty” in general (which is what I mean by the characteristic American quality) has become the particular faculty; so that if in the artist’s present work one recognizes—recognizes even fondly—the national handiness, it is as handiness regenerate and transfigured. The American adaptiveness has become a Dutch finish. The only criticism I have to make is of the preordained paucity of Mr. Millet’s drawings; for my mission is not to speak of his work in oils, every year more important (as was indicated by the brilliant interior with figures that greeted the spectator in so friendly a fashion on the threshold of the Royal Academy exhibition of 1888), nor to say that it is illustration too—illustration of any old-fashioned song or story that hums in the brain or haunts the memory—nor even to hint that the admirable rendering of the charming old objects with which it deals (among which I include the human face and figure in dresses unfolded from the lavender of the past), the old surfaces and tones, the stuffs and textures, the old mahogany and silver and brass—the old sentiment too, and the old picture-making vision—are in the direct tradition of Terburg and De Hoogh and Metzu.
III
There is no paucity about Mr. Abbey as a virtuoso in black and white, and if one thing more than another sets the seal upon the quality of his work, it is the rare abundance in which it is produced. It is not a frequent thing to find combinations infinite as well as exquisite. Mr. Abbey has so many ideas, and the gates of composition have been opened so wide to him, that we cultivate his company with a mixture of confidence and excitement. The readers of Harper have had for years a great deal of it, and they will easily recognize the feeling I allude to—the expectation of familiarity in variety. The beautiful art and taste, the admirable execution, strike the hour with the same note; but the figure, the scene, is ever a fresh conception. Never was ripe skill less mechanical, and never was the faculty of perpetual evocation less addicted to prudent economies. Mr. Abbey never saves for the next picture, yet the next picture will be as expensive as the last. His whole career has been open to the readers of Harper, so that what they may enjoy on any particular occasion is not only the talent, but a kind of affectionate sense of the history of the talent, That history is, from the beginning, in these pages, and it is one of the most interesting and instructive, just as the talent is one of the richest and the most sympathetic in the art-annals of our generation. I may as well frankly declare that I have such a taste for Mr. Abbey’s work that I cannot affect a judicial tone about it. Criticism is appreciation or it is nothing, and an intelligence of the matter in hand is recorded more substantially in a single positive sign of such appreciation than in a volume of sapient objections for objection’s sake—the cheapest of all literary commodities. Silence is the perfection of disapproval, and it has the great merit of leaving the value of speech, when the moment comes for it, unimpaired.
Accordingly it is important to translate as adequately as possible the positive side of Mr. Abbey’s activity. None to-day is more charming, and none helps us more to take the large, joyous, observant, various view of the business of art. He has enlarged the idea of illustration, and he plays with it in a hundred spontaneous, ingenious ways. “Truth and poetry” is the motto legibly stamped upon his pencil-case, for if he has on the one side a singular sense of the familiar, salient, importunate facts of life, on the other they reproduce themselves in his mind in a delightfully qualifying medium. It is this medium that the fond observer must especially envy Mr. Abbey, and that a literary observer will envy him most of all.
Such a hapless personage, who may have spent hours in trying to produce something of the same result by sadly different means, will measure the difference between the roundabout, faint descriptive tokens of respectable prose and the immediate projection of the figure by the pencil. A charming story-teller indeed he would be who should write as Mr. Abbey draws. However, what is style for one art is style for other, so blessed is the fraternity that binds them together, and the worker in words may take a lesson from the picture-maker of “She Stoops to Conquer.” It is true that what the verbal artist would like to do would be to find out the secret of the pictorial, to drink at the same fountain. Mr. Abbey is essentially one of those who would tell us if he could, and conduct us to the magic spring; but here he is in the nature of the case helpless, for the happy ambiente as the Italians call it, in which his creations move is exactly the thing, as I take it, that he can least give an account of. It is a matter of genius and imagination—one of those things that a man determines for himself as little as he determines the color of his eyes. How, for instance, can Mr. Abbey explain the manner in which he directly observes figures, scenes, places, that exist only in the fairy-land of his fancy? For the peculiar sign of his talent is surely this observation in the remote. It brings the remote near to us, but such a complicated journey as it must first have had to make! Remote in time (in differing degrees), remote in place, remote in feeling, in habit, and in their ambient air, are the images that spring from his pencil, and yet all so vividly, so minutely, so consistently seen! Where does he see them, where does he find them, how does he catch them, and in what language does he delightfully converse with them? In what mystic recesses of space does the revelation descend upon him?
The questions flow from the beguiled but puzzled admirer, and their tenor sufficiently expresses the claim I make for the admirable artist when I say that his truth is interfused with poetry. He spurns the literal and yet superabounds in the characteristic, and if he makes the strange familiar he makes the familiar just strange enough to be distinguished. Everything is so human, so humorous and so caught in the act, so buttoned and petticoated and gartered, that it might be round the corner; and so it is—but the corner is the corner of another world. In that other world Mr. Abbey went forth to dwell in extreme youth, as I need scarcely be at pains to remind those who have followed him in Harper. It is not important here to give a catalogue of his contributions to that journal: turn to the back volumes and you will meet him at every step. Every one remembers his young, tentative, prelusive illustrations to Herrick, in which there are the prettiest glimpses, guesses and foreknowledge of the effects he was to make completely his own. The Herrick was done mainly, if I mistake not, before he had been to England, and it remains, in the light of this fact, a singularly touching as well as a singularly promising performance. The eye of sense in such a case had to be to a rare extent the mind’s eye, and this convertibility of the two organs has persisted.
From the first and always that other world and that qualifying medium in which I have said that the human spectacle goes on for Mr. Abbey have been a county of old England which is not to be found in any geography, though it borders, as I have hinted, on the Worcestershire Broadway. Few artistic phenomena are more curious than the congenital acquaintance of this perverse young Philadelphian with that mysterious locality. It is there that he finds them all—the