A Picture is a Purely Decorative Thing - Essays and Excerpts on The Arts. Oscar Wilde

A Picture is a Purely Decorative Thing - Essays and Excerpts on The Arts - Oscar Wilde


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      A

      picture

      is a purely

      decorative thing

      ESSAYS AND EXCERPTS

       on the Arts

       By

OSCAR WILDE

      Copyright © 2020 Read & Co. Great Essays

      This edition is published by Read & Co. Great Essays,

      an imprint of Read & Co.

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      "Art never expresses anything but itself."

      —Oscar Wilde,

      The Decay of Lying, 1891

      Contents

       Oscar Wilde

       THE ARTIST

       THE ENGLISH RENAISSANCE OF ART

       AN EXPOSURE OF NATURALISM

       SCULPTURE AT THE ARTS AND CRAFTS

       HOUSE DECORATION

       THE POETRY OF ARCHÆOLOGY

       THE ART OF ARCHÆOLOGY

       ART AND THE HANDICRAFTSMAN

       MR. MORRIS ON TAPESTRY

       LECTURE TO ART STUDENTS

       THE RELATION OF DRESS TO ART

       LONDON MODELS

       PEN, PENCIL AND POISON

       PRINTING AND PRINTERS

       THE BEAUTIES OF BOOKBINDING

       THE CLOSE OF THE ARTS AND CRAFTS

       ENGLISH POETESSES

      Oscar Wilde

      Oscar Fingal O'Flahertie Wills Wilde was born in Dublin in 1854. His parents were successful Dublin intellectuals, and Wilde became fluent in French and German early in life. He studied at Trinity College, Dublin, and subsequently won a scholarship to Magdalen College, Oxford, where he was heavily influenced by John Ruskin and Walter Pate. Wilde proved himself to be an outstanding classicist. After university, he moved to London and became involved with the fashionable cultural and social circles of the day. At the age of just 25 he was well-known as a wit and a dandy, and as a spokesman for aestheticism—an artistic movement that emphasized aesthetic values ahead of socio-political themes—he undertook a lecture tour to the United States in 1882, before eventually returning to London to try his hand at journalism. It was also around this time that he produced most of his well-known short fiction.

      In 1891, Wilde published The Picture of Dorian Gray, his only novel. Reviewers criticised the novel's decadence and homosexual allusions, although it was popular nonetheless. From 1892, Wilde focussed on playwriting. In that year, he gained commercial and critical success with Lady Windermere's Fan, and followed it with the comedy A Woman of No Importance (1893) and An Ideal Husband (1895). Then came Wilde's most famous play, The Importance of Being Earnest – a farcical comedy which cemented his artistic reputation and is now seen as his masterpiece.

      In 1895, the Marquess of Queensbury, who objected to his son spending so much time with Wilde because of Wilde's flamboyant behaviour and reputation, publicly insulted him. In response, Wilde brought an unsuccessful slander suit against him. The result of this inability to prove slander was his own trial on charges of sodomy, and the revealing to the transfixed Victorian public of salacious details of Wilde's private life followed. Wilde was found guilty and sentenced to two years of hard labour.

      Wilde was released from prison in 1897, having suffered from a number of ailments and injuries. He left England the next day for the continent, to spend his last three years in penniless exile. He settled in Paris, and didn't write anymore, declaring “I can write, but have lost the joy of writing.” Wilde died of cerebral meningitis on in November of 1900, converting to Catholicism on his deathbed.

      THE ARTIST

      ONE evening there came into his soul the desire to fashion an image of The Pleasure that abideth for a Moment. And he went forth into the world to look for bronze. For he could think only in bronze.

      But all the bronze of the whole world had disappeared, nor anywhere in the whole world was there any bronze to be found, save only the bronze of the image of The Sorrow that endureth for Ever.

      Now this image he had himself, and with his own hands, fashioned, and had set it on the tomb of the one thing he had loved in life. On the tomb of the dead thing he had most loved had he set this image of his own fashioning, that it might serve as a sign of the love of man that dieth not, and a symbol of the sorrow of man that endureth for ever. And in the whole world there was no other bronze save the bronze of this image.

      And he took the image he had fashioned, and set it in a great furnace, and gave it to the fire.

      And out of the bronze of the image of The Sorrow that endureth for Ever he fashioned an image of The Pleasure that abideth for a Moment.

      An Excerpt from

      Poems in Prose, 1894

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