The artist sees beauty of form and color where the ordinary observer
does not; and paints the old and ugly with as much enthusiasm as the
young and beautiful--sometimes. If there is in some an over-emphasis of
feminine attractions it is counterbalanced in others by a far broader
line of work.

But the main evils of a too masculine art lie in the emphasis laid on
self-expression. The artist, passionately conscious of how he feels,
strives to make other people aware of these sensations. This is now so
generally accepted by critics, so seriously advanced by painters, that
what is called "the art world" accepts it as established.

If a man paints the sea, it is not to make you see and feel as a sight
of that same ocean would, but to make you see and feel how he,
personally, was affected by it; a matter surely of the narrowest
importance. The ultra-masculine artist, extremely sensitive,
necessarily, and full of the natural urge to expression of the sex, uses
the medium of art as ingenuously as the partridge-cock uses his wings in
drumming on the log; or the bull moose stamps and bellows; not narrowly
as a mate call, but as a form of expression of his personal sensations.

The higher the artist the more human he is, the broader his vision, the
more he sees for humanity, and expresses for humanity, and the less
personal, the less ultra-masculine, is his expression.



OUR ANDROCENTRIC CULTURE; or, THE MAN-MADE WORLD