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Indeed, no man can become a true artist whose subjective mind is not cultivated to a high degree of activity. One may become a good draughtsman, or learn to delineate a figure with accuracy, or to draw a landscape with photographic fidelity to objective nature, and in faultless perspective, by the cultivation of the objective faculties alone; but his work will lack that subtle something, that nameless charm, which causes a canvas to glow with beauty, and each particular figure to become instinct with life and action. No artist can successfully compose a picture who cannot see " in his mind's eye " the perfected picture before he touches his pencil to canvas; and just in proportion to his cultivation of the subjective faculties will he be able thus to see his picture. Of course these remarks will be understood to presuppose an objective art education. No man, by the mere cultivation or exercise of his subjective faculties, can become a great artist, any more than an ignoramus, by going into a hypnotic trance, can speak the language of a Webster. All statements to the contrary are merely the exaggerations of inaccurate observers. Genius in art, as in everything else, is the result of the harmonious cultivation and synchronous action of both characteristics . of the dual mind.
In art, as in poetry, the undue predominance of the subjective mind is apt to work disastrously. No better illustration of this is now recalled than is furnished by the works of Fuseli or of Blake :
" Look," says Dendy,1 " on those splendid illustrations of the Gothic poets bv the eccentric, the half-mad Fuseli. Look on the wild pencillings of Blake, another poet-painter, and you will be assured that they were ghost-seers. An intimate friend of Blake has told me the strangest tales of his visions. In one of his reveries he witnessed the whole ceremony of a fairy's funeral, which he peopled with mourners and mutes, and described with high poetic beauty. He was engaged, in one of these moods, in painting King Edward I., who was sitting to him for his picture. While they were conversing, Wallace sud-
i Philosophy of Mystery, p. 93.