Picture and Text. Генри Джеймс
real) slides off the other side of the runaway horse. But he remains, on the whole, pencil in hand, a wonderfully copious and veracious historian of his age and his civilization.
VII
I have left Mr. Reinhart to the last because of his importance, and now this very importance operates as a restriction and even as a sort of reproach to me. To go well round him at a deliberate pace would take a whole book. With Mr. Abbey, Mr. Reinhart is the artist who has contributed most abundantly to Harper; his work, indeed, in quantity, considerably exceeds Mr. Abbey’s. He is the observer of the immediate, as Mr. Abbey is that of the considerably removed, and the conditions he asks us to accept are less expensive to the imagination than those of his colleague. He is, in short, the vigorous, racy prosateur of that human comedy of which Mr. Abbey is the poet. He illustrates the modern sketch of travel, the modern tale—the poor little “quiet,” psychological, conversational modern tale, which I often think the artist invited to represent it to the eye must hate, unless he be a very intelligent master, little, on a superficial view, would there appear to be in it to represent. The superficial view is, after all, the natural one for the picture-maker. A talent of the first order, however, only wants to be set thinking, as a single word will often make it. Mr. Reinhart at any rate, triumphs; whether there be life or not in the little tale itself, there is unmistakable life in his version of it. Mr. Reinhart deals in that element purely with admirable frankness and vigor. He is not so much suggestive as positively and sharply representative. His facility, his agility, his universality are a truly stimulating sight. He asks not too many questions of his subject, but to those he does ask he insists upon a thoroughly intelligible answer. By his universality I mean perhaps as much as anything else his admirable drawing; not precious, as the æsthetic say, nor pottering, as the vulgar, but free, strong and secure, which enables him to do with the human figure at a moment’s notice anything that any occasion may demand. It gives him an immense range, and I know not how to express (it is not easy) my sense of a certain capable indifference that is in him otherwise than by saying that he would quite as soon do one thing as another.
For it is true that the admirer of his work rather misses in him that intimation of a secret preference which many strong draughtsmen show, and which is not absent, for instance (I don’t mean the secret, but the intimation), from the beautiful doings of Mr. Abbey. It is extremely present in Mr. Du Maurier’s work, just as it was visible, less elusively, in that of John Leech, his predecessor in Punch. Mr. Abbey has a haunting type; Du Maurier has a haunting type. There was little perhaps of the haunted about Leech, but we know very well how he wanted his pretty girls, his British swell, and his “hunting men” to look. He betrayed a predilection; he had his little ideal. That an artist may be a great force and not have a little ideal, the scarcely too much to be praised Charles Keene is there (I mean he is in Punch) to show us. He has not a haunting type—not he—and I think that no one has yet discovered how he would have liked his pretty girls to look. He has kept the soft conception too much to himself—he has not trifled with the common truth by letting it appear. This common truth, in its innumerable combinations, is what Mr. Rein-hart also shows us (with of course infinitely less of a parti pris of laughing at it), though, as I must hasten to add, the female face and form in his hands always happen to take on a much lovelier cast than in Mr. Keene’s. These things with him, however, are not a private predilection, an artist’s dream. Mr. Reinhart is solidly an artist, but I doubt whether as yet he dreams, and the absence of private predilections makes him seem a little hard. He is sometimes rough with our average humanity, and especially rough with the feminine portion of it. He usually represents American life, in which that portion is often spoken of as showing to peculiar advantage. But Mr. Reinhart sees it generally, as very bourgeois. His good ladies are apt to be rather thick and short, rather huddled and plain. I shouldn’t mind it so much if they didn’t look so much alive. They are incontestably possible. The long, brilliant series of drawings he made to accompany Mr. Charles Dudley Warner’s papers on the American watering-places form a rich bourgeois epic, which imaginations haunted by a type must accept with philosophy, for the sketches in question will have carried the tale, and all sorts of irresistible illusion with it, to the four corners of the earth. Full of observation and reality, of happy impressionism, taking all things as they come, with many a charming picture of youthful juxtaposition, they give us a sense, to which nothing need be added, of the energy of Mr. Reinhart’s pencil. They are a final collection of pictorial notes on the manners and customs, the aspects and habitats, in July and August, of the great American democracy; of which, certainly, taking one thing with another, they give a very comfortable, cheerful account. But they confirm that analytic view of which I have ventured to give a hint—the view of Mr. Reinhart as an artist of immense capacity who yet somehow doesn’t care. I must add that this aspect of him is modified, in the one case very gracefully, in the other by the operation of a sort of constructive humor, remarkably strong, in his illustrations of Spanish life and his sketches of the Berlin political world.
His fashion of remaining outside, as it were, makes him (to the analyst) only the more interesting, for the analyst, if he have any critical life in him, will be prone to wonder why he doesn’t care, and whether matters may not be turned about in such a way as that he should, with the consequence that his large capacity would become more fruitful still. Mr. Reinhart is open to the large appeal of Paris, where he lives—as is evident from much of his work—where he paints, and where, in crowded exhibitions, reputation and honors have descended upon him. And yet Paris, for all she may have taught him, has not given him the mystic sentiment—about which I am perhaps writing nonsense. Is it nonsense to say that, being very much an incarnation of the modern international spirit (he might be a Frenchman in New York were he not an American in Paris), the moral of his work is possibly the inevitable want of finality, of intrinsic character, in that sweet freedom? Does the cosmopolite necessarily pay for his freedom by a want of function—the impersonality of not being representative? Must one be a little narrow to have a sentiment, and very local to have a quality, or at least a style; and would the missing type, if I may mention it yet again, haunt our artist—who is somehow, in his rare instrumental facility, outside of quality and style—a good deal more if he were not, amid the mixture of associations and the confusion of races, liable to fall into vagueness as to what types are? He can do anything he likes; by which I mean he can do wonderfully even the things he doesn’t like. But he strikes me as a force not yet fully used.
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