Art.
In the preface to The Picture of Dorian Gray Oscar Wilde makes the final statement that "All art is quite useless."
Here's a guy whose greatest gift might be the contradictory epithet writing a piece of art whose primary use is the description of the concept that art is useless. Oxymorons, inverted epigrams, contradictory epithets... these are the soul of Oscar Wilde's art. They are his stock in trade. Lord Henry Wotton in The Picture of Dorian Gray said he could believe anything provided it is quite incredible. "I can resist anything except temptation," said Lord Darlington in Lady Windermere's Fan. Indeed the eyelid half closed, opium-soaked, languid rhetoric of the upper class dandies Wilde obviously admired and worked hard to portray, and from whence most of his clever witticisms are derived, was effortlessness that could only come from a great deal of hard work and study. Hard work disguised as leisure that could only be enjoyed by the upper class since "work is the curse of the drinking class."
We need to consider the source of this preface. At the risk of putting words in the artist's mouth or being Caliban viewing his ugly reflection, I believe Wilde is saying art is useless because it's the most useful thing in the world. Art is life and life's ugliness revealed is a beautiful thing. He said in De Profundis, "I treated Art as the supreme reality, and life as a mere mode of fiction... I summed up all systems in a phrase, and all existence in an epigram."
So rather than the masturbatory exploration of whether or not art is quite useless, a statement made by an artist who probably felt the irony could therefore be assumed, I think it might be more fruitful to explore whether or not it is the most useful thing in the world.
First things first, it's not easy to just make art. Imagine the struggle of the painter trying to portray life's ugliness in something beautiful. And speaking of masturbatory, how many of us have witnessed to critic or the plebeian trying to convince others that he/she sees the art or the beauty in something most consider inartistic or ugly. If you have a chance watch this. It is art itself!
It's the story of an old lady, a trucker by trade and member of the drinking class, who bought a picture as a joke gift for a friend, its hideousness being the humour, only to find that it might be a genuine Jackson Pollock worth millions. How much did she pay? The saleslady asked for 8 bucks but settled for 5.If you want some art, go to the 8:40 mark or so and watch the art "expert" view this painting. It is absolutely hilarious! He looks at it upside-down, sideways, plays peek-a-boo with it and comes to the conclusion that it's "superficial and frivolous" and is NOT a Jackson Pollock.
To make that even more hilarious, here's a side-by-side comparison of a Pollock that sold for over 100 million and the one Teri Horton bought for five bucks. Could ANYone, even Jackson Pollock himself, explain 100 million dollars worth of difference? If so, THAT, my friends, THAT would be some art! Are these Pollocks or just bollocks? In my opinion the latter. I think, like Wilde, Pollock was satirizing the world of art. When asked how the layman should look at modern art Pollock said it should be enjoyed like music. Look at the painting and try to receive what it has to offer. After a while you may like it or you may not but it's important to give it a chance. The genius here is the appeal to the vanity of art critics and the subtle insinuation that if you cannot receive the "art," the problem lies with you, not the painting or the music. This is how you get the hilarious theater of rubbish justification. Pollock could literally sell his oversplash catcher or brush cleaning rags for millions. The art here is in the supreme satire that has led to wildly fanciful descriptions of splashing and blobbing identical to kindergarten classes and the outrageous price tags attached to these fraudulent pieces.
Before you object, let's use Pollock's example of music. The irony is that Jackson Pollock HAD talent. He could make a picture that looked like something. But he became famous for making works of "art" that don't use that talent. It's like if Eddy Van Halen went on stage and brushed, swept, tickled, and whacked his electric guitar with a broom then told the audience to try to receive what that music had to offer. Do you think THAT would outsell the other Van Halen albums? I guess it depends on how badly the listening audience wanted to appear like they understood the art of the revolutionary new form of guitar playing called "sweep strumming."
I went to an Indonesian traditional play that was an old folk tale involving magic, dragons, witches, etc. The costumes and acting were great! There was some humour to it as well. But I said to my guide that the music was annoying. He told me that it's just musicians randomly banging on their instruments depending on the gods to make it musical. Well that day the gods were not cooperating. It was just plain noise. To admit that I must be a Philistine, right? An art hater. Well, I'm okay with that. But I'm sure there are people in the traditional art world of Indonesia who make their livings convincing others that they can "hear" the music in that random bashing and blowing. In my opinion, if you pay a thousand bucks for a recording of that noise, or millions for a Jackson Pollock, it is a fitting punishment for your hubris.
Deriving beauty from the hideousness of even a genuine Pollack takes some artful dodgery, but let's go in the other direction. Teri Horton in the movie says that to her art has to look like something, like a Norman Rockwell painting. Well, here's a classic:
It's Triple Self Portrait and I defy you to find any ugliness in it without going beyond the superficial and the frivolous. He has pictures of his influences tacked to the corner of his painting, Rembrandt, van Gough, Durer, and Picasso (I learned from looking them up). Consider the darkness in the lives of those men. Rembrandt was considered a difficult, arrogant, and litigious man. Vincent van Gogh, a great admirer of Rembrandt, was described as socially abrasive, exhausting to live with, and mentally unhealthy. Albrecht Durer painted a portrait of his lifelong friend with Greek text along the edge that translated to "With the cock in your asshole." Pablo Picasso was a deeply flawed, manipulative, cruel, and misogynistic individual. As you might expect, even Norman Rockwell's life was far from the idealized vision of America he created in his art.In Somerset Maugham's The Moon & Sixpence a novel partially inspired by the life of Paul Gauguin, the narrator suggests that the subject of the work, Charles Strickland, an artist with few if any redeeming social characteristics was a tortured soul who had something profound that needed to be shared with the world and the price of his struggle to somehow do that was being a misunderstood outcast.
Can artists, for this reason, be forgiven for their abhorrent behaviour and are their works necessarily artistic in direct proportion to the depths of their social depravity? Does biographer and public exegesis - critically deep interpretation of their art - tend to become eisegesis in proportion to their popularity? Do we tend to read our own biases and opinions into artist's work? Let's go back to Oscar Wilde's preface. In it he says that the highest as well as the lowest forms of criticism are modes of autobiography whereas he says that to reveal art and conceal the artist is art's aim.
From this we are to understand (superficially) that it is all in the mind of the critic or the reader if they find any of Oscar Wilde himself in the pages of his literature. This smacks of a court hearing defense rather than a legitimate fact and to anyone familiar with Oscar Wilde, it should read as nothing more. His comment in Dorian Gray that the more insincere the man is the more purely intellectual his ideas will be and completely uncoloured by wants, desires, or prejudices was 0% autobiographical? Was it just Lord Wotton who believed that conscience is merely the trade name of the firm of cowardice? Was it merely an entirely intellectually created character who believed in the Hellenic ideal - the harmony of body and soul - to be a man who lived his life not adhering to blind dogma but completely indulging every feeling, expressing every thought, and making every dream a reality? Was it only a character he created who compared the moral self-deprivation that comes with modern ethics to savage tribal self-mutilation like tattooing or scarring? I think he would have preferred this to be the case at his hearings, but there were some in attendance who knew better.
Yes, Oscar Wilde got in trouble for his art not being completely non-biographical and useless. BIG trouble. I don't know how accurate it is but if you watch the 1960 movie starring Peter Finch as Oscar Wilde called The Trials of Oscar Wilde, go to about 8:30 and you'll hear, "I consider that to conform to the narrow moral standards of this Victorian age the grossest form of immorality." A gutsy thing to say in the rather demure social environment of his times. In fact it is quite well known that Wilde relished the idea of being a martyr and being taken down for standing against what he (and a LOT of his characters) considered to be social, particularly sexual, foppery. Many believe his entire purpose for taking the stand was to create a real time work of art in which he dissected the restrictive laws of English society, cut the attorneys' arguments to ribbons with his razor sharp wit, and in the end got what he eventually ended up getting for the cause of progressive thinking.
I'm torn on the two sides of Oscar Wilde's story. On the one hand his sentence of two year's hard labour broke and eventually killed him. He was 46 when he died of complications related to the hard labour for which decades of leisurely, languid living left him uniquely unprepared. Who knows what masterpieces he might have composed had he been, I dunno, more Hemingwayish? On the other hand, he absolutely WAS the sodomite that he was accused of being so despite the idea that it shouldn't have been against the law, (was in England till 1967 in fact) his whole case was a lie. He even began the trial by lying about his age to give you an idea of how seriously he did not take this trial for his life.
Do you know that after he was accused by the Marquess of Queensberry he was so scared that he went on a lavish, romantic trip to Algiers with his beau (and son of the Marquess) Lord Alfred "Bosie" Douglas? During the trip they met French author Andre Gide who said that Wilde seemed to be a man aware that his tragic fate was approaching. When people warned him to be careful Wilde's response was that that would be a step back. He had determined to go as far as possible even unto death. The events of the trip included the exploration into the seedy underbelly of Algiers were just useful fodder for the opposing attorneys during his trial.
So in answer to the question of whether art IS the most important thing in the world, it is pretty clear that it was to Oscar Wilde. Contrary to his statements that art should be no reflection of the artist, he was determined to live the life Lord Henry Wotton described to the young Dorian Gray flouting dogma like social convention and laws and devoting body and soul to the indulgence of dreams and desires. He was a devoted aesthete to the end. I can't decide whether this was more heroic or tragic.
There is a kind of mythology that people are wont to create around those who show any aptitude for art. Somerset Maugham writes that the faculty for myth is innate in the huma race. Do we seek out people who have at all distinguished themselves from others in some way, invent legends about them, and attach fanatical beliefs to these legends as they grow? I have to believe this to be true, perhaps more true than for anyone, about Jackson Pollock. It seems there are an awful lot of artists that were secretly horrible people. Could it be then that their gift of artistic talent, their insight into the most important thing in the world, is such a heavy burden that it drives them to become so? And if this is true, should we forgive them their transgressions as the cost of their art?
Whether art is the most important thing in the world or not, am I willing to forgive character flaws in great artists such as Oscar Wilde? Gauguin left his wife and five children to go to Tahiti where he married multiple girls, all under the age of 14. Though Wilde was blowing huge wads of cash in his beautiful Bosie, in the end he neglected his wife and kids. Is their art more important than the lives they destroyed? What about other authors, painters, singers, or other artists?
I'm going to have to land on I don't know. What do you reckon?






