âCan artâs uselessness be a source of its usefulness?â by Alice Delhanty (Year 12)
Oscar Wildeâs preface to âThe Picture of Dorian Grayâ beheld the statement which still shocks those who read it; âthe only excuse for making a useless thing is that one admires it intensely. All art is quite uselessâ[1]. Â Taken out of context, Wilde assertion may seem critical, nonetheless, it is quite the opposite, aesthetes held a great admiration for art and, although the movement itself was short-lived many of their ideas resonate today. Aesthetes wanted a gulf between social, political, historical and moral themes and art, literature, and music. In an aesthetic sense, art being useless is a great advantage as it means art is completely admirable. Art being useless means it is created purely for the purpose of being beautiful, thus, being art.
In answering this question, one has to confirm what art is, or at least what art is to oneself. Whether it is brushstroke, pencil line or clay, art is ultimately an attempt to make sense of the existential questions. Art is the medium in which we endeavour to understand the human experience, therefore art is a visual success of making the subject experience, understand and sympathise when looking at the work. Francis Bacon exemplifies art as self-reflecting. Observations of Baconâs work incites understanding of trauma in his paintings. The âmoodâ is transferred to the observer, making it art. Baconâs painting âStudy after VelĂĄzquez's Portrait of Pope Innocent Xâ is a prime example of what art should do. The tortured face and darkness of the background collates to depict Baconâs mind. The critic John Whitehead commented âHis paintings express modern humanities conditionâ[2] - a definition that can be transferred to art as a whole, the result is the human condition caught and exposure of societal conditions.
Simon Schama describes âgreat artâ as having the effect of an âunsettling surpriseâ[3]. The feeling of standing in front of the work, rather than listening to the audio guide demonstrates arts useless usefulness. Jackson Pollockâs painting âNumber 23â exemplifies this. Pollock himself said âpainting is self-discovery, every good artist paints what he isâ[4]. The self-depiction is what âunsettlesâ us. âNumber 23â is a painting of self-discovery, the black spiralling around the canvas a visual image of Pollockâs subconscious. An artistic creation arguably mirrors its creator. Egotistic works of oneself expose autobiography in art. An example in literature is Tennessee Williamsâ play âA Streetcar Named Desireâ[5], which has numerous autobiographical elements of Williamsâ own life. Through the biographical resonance the audience is touched and a âmoodâ is created. John Berger articulates this in his collection of essays 'Ways of seeing'; âwhat are these paintings? Before anything else they are themselvesâ[6]. Humans are egotistic creatures, we always try to find ourselves in what we see and do. When we create something it is always a depiction of ourselves, art is self-portrayal in even the most abstract of senses.
In aestheticism there are contradictions during the period it occupied. Pre-Raphaelites are often associated with aesthetes and show how art can be both didactic and beautiful. Many of the Pre-Raphaelite works encompass moralistic messages such as William Holman-Hunts âThe Light of the Worldâ (1853-54), and âThe Awakening Conscienceâ (1853), whilst these works are beautiful, the intention is didactic therefore, a contradiction of the aesthetes idea of art. The portrayal of Jesus, a lamp in hand creating a glow revealing his face looking directly at the viewer. He knocks on the door unconcerned by who will answer, rather he continues to stare. However beautiful the image may be, beauty was not the primary concern, Holman-Hunt saw himself as a social reformer and this was integral to the painting. âThe Light of the Worldâ was intended to be placed next to âThe Awakening Conscienceâ - a woman stirred by something; her conscience awakened to Jesus, a realisation to reconsider her actions, preventing her from disgracing herself. The Pre-Raphaelites wished to go back to nature, in the midst of an industrialised country, to be beautiful rather than utilitarian. The Pre-Raphaelites believed that morality and beauty went hand in hand.
Art being useful through being useless relieves pressure on the creator, expression is unbounded, the end result is a wholly honest work. It is raw and exposing, touching and inspiring those who see it, the viewer is radicalised. Albert Camus wrote in his âbook-length essayâ, âThe Rebelâ, âwhat is a rebel?: a man who says no, but whose refusal does not imply a renunciation.â[7], this idea can be applied to artists - their movements act as rebellions, challenging the norm. However, in their denial, they do not renunciate or lose the finesse of the art previously gained. The early Pre-Raphaelite movement at times shocked and disgusted its viewers. The alien âPre-Raphaelite brotherhoodâ was a rebellious art movement. An artist strives for progression, as Wilde desired to achieve in the preface of âDorian Grayâ - that art did not have to be a fable, it could be simply beautiful. Art devoid of moralistic themes results in a more impressive piece, the observer is undistracted with concerns of moral lessons or instruction. What is created is completely revolutionary. In a letter to a friend in 1851, John Everette Millais described art as having an 'unworldly usefulness to mankindâ. The 'unworldly' usefulness is what gives art its unworldly power. âlâart pour lâartâ or âart for arts sakeâ is an understatement of what aesthetes were trying to achieve by breaking from claustrophobic societal expectations.
Arguably art created with didactic intention loses that effect eventually, uselessness dominates the work. The majority of pre-1900 art consists of art created for the patron, contradicting the idea of art being useless. âArt for patron's sakeâ rather than âart for art's sakeâ and aestheticism. The power was in the patron, not the artist. Paintings of monarchs, political figures and propaganda, were created with a use, instructing the viewer to think a certain way. Obvious examples include the Holbeinâs paintings, Roman statues of rulers such as Augustus and Charles le Brunâs paintings of Versailles. The artists were restrained by a âbriefâ from the patron. Another example of didactic painting is Delacroixâs âLiberty Leading the Peopleâ (1830), which commended the July revolution of 1830 in France, overthrowing Charles X. This painting was essentially propaganda; glorifying the revolution and those who died in it. Delacroix said shortly after he began the painting âI have undertaken a modern subject, a barricade⌠so that if I did not win for my country I will at least be painting for it.â[8] The painting is for his country, the patron, not himself. A literary example, George Orwellâs âAnimal Farmâ[9], is one of the most celebrated novels of the twentieth century âa work of artâ. Nonetheless, it has the purpose of refuting communism and acts as an allegory for the Russian Revolution. It has a devout use, yet it is still considered art.
Art created for a specific purpose loses its influence over time. As the societal context changes, art is perceived differently. Art is wholly subjective, the perspective of the individual dictates what is recognised. Therefore the circumstances the individual lives in affects how they perceive the work. Art created with the intention of instructing at the time is only recognised by the specific audience of the time. The âusefulâ quality of art becomes increasingly useless as the viewer changes and becomes more distant from the works original context. John Berger outlines this idea in âWays of Seeingâ âart of the past no longer exists as it once didâ[10] - the world changes and so does the art, its existence shifts in use. It is the uselessness of the âonce usefulâ art that allows its new viewer to appreciate the artistic power rather than the messages within the painting. The viewer is not obliged to take note of the political message from the patron. One can simply stand in awe and appreciate the beauty. The shift in context allows the âonce usefulâ art to become âuselessâ and therefore be appreciated as art, not as argument.
Art has incredible qualities. The ability to create mood and move the viewer, being useless, this quality allows one to see truth in the art as well as beauty; a usefulness unmeasurable. Uselessness relieves the works of pressure, allowing art to be created for beauty, not instruction. Aestheticism was of great use to art as a whole, allowing art of the future to progress. To be useless does not mean to be purposeless, arts purpose is infinite useless or not. However, it is the lack of use, either from distance from the original context or from self-expression that gives art its âunworldly usefulnessâ. âThe essay itself had to be approximately 1500 words and was shortlisted out of over 3,600 essays with the competition hosted by New College of Humanities University. I found writing the essay very interesting as it allowed me to do my own research and study of art and art history in general, especially as I will be studying fine art at university. The essay also made me question my own thoughts on the topic, whether I personally felt that art was useless, which although may seem an odd and obvious question to answer, actually raised more questions the further I delved into it. Right now I am waiting until the awards ceremony in June to find out the overall winners of the competition.â
- Alice Delhanty (Year 12)Â
[1]Wilde, Oscar, The Picture of Dorian Gray (England: Penguin Books, 1891), page 5.
[2]thedailyhatch.org, Whitehead, John, 21.12.18, <https://thedailyhatch.org/2012/04/02/francis-bacon-humanist-artist-who-believed-life-is-meaningless-part-1-2/>
[3]Schama, Simon, The Power of Art (England: BBC Books, 2006), page 7.
[4]tate.org.uk, Pinnington, Mike, 3.01.19, <https://www.tate.org.uk/context-comment/articles/jackson-pollock-man-myth>
[5]Williams, Tennessee, A Streetcar Named Desire (England: Penguin Books, Penguin Modern Classics 2009)
[6]Berger, John, â5â, in Ways of Seeing, (England: Penguin Books, 1972), page 85.
[7]Camus, Albert, The Rebel (England: Penguin Books, 1953), page 19.
[8] Eugene Delacroix, 31-12-2018 <http://www.eugene-delacroix.com/liberty-leading-the-people.jsp>
[9] Orwell, George, Animal Farm (England: Martin Secker & Warburg Ltd, 1987)
[10]Berger, John, â1â, in Ways of Seeing, (England: Penguin Books, 1972), pp. 33.

















