large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb_137
large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb
English
5293
To enhance the beauty he had thus distorted, and so to enhance yet further the suffering that produced the distortion, he would often represent attendant demons, whom he made as ugly as his imagination could compass; avoiding, however, all grotesqueness beyond what was sufficient to indicate that they were demons, and not men. TO ENHANCE THE BEAUTY HE HAD THUS DISTORTED AND SO TO ENHANCE YET FURTHER THE SUFFERING THAT PRODUCED THE DISTORTION HE WOULD OFTEN REPRESENT ATTENDANT DEMONS WHOM HE MADE AS UGLY AS HIS IMAGINATION COULD COMPASS AVOIDING HOWEVER ALL GROTESQUENESS BEYOND WHAT WAS SUFFICIENT TO INDICATE THAT THEY WERE DEMONS AND NOT MEN
 had rejoiced his evil fancy. Then he would return to his couch, and, well satisfied, fall asleep to dream yet further embodiments of human ill. What wrong could man or mankind have done him, to be thus fearfully pursued by the vengeance of the artist’s hate? Another characteristic of the faces and form which he drew was, that they were all beautiful in the original idea. The lines of each face, however distorted by pain, would have been, in rest, absolutely beautiful; and the whole of the execution bore witness to the fact that upon this original beauty the painter had directed the artillery of anguish to bring down the sky-soaring heights of its divinity to the level of a hated existence. To do this, he worked in perfect accordance with artistic law, falsifying no line of the original forms. It was the suffering, rather than his pencil, that wrought the change. The latter was the willing instrument to record what the imagination conceived with a cruelty composed enough to be correct.  INDIVIDUAL FACE WHICH HAD REJOICED HIS EVIL FANCY THEN HE WOULD RETURN TO HIS COUCH AND WELL SATISFIED FALL ASLEEP TO DREAM YET FURTHER EMBODIMENTS OF HUMAN ILL WHAT WRONG COULD MAN OR MANKIND HAVE DONE HIM TO BE THUS FEARFULLY PURSUED BY THE VENGEANCE OF THE ARTIST'S HATE ANOTHER CHARACTERISTIC OF THE FACES AND FORM WHICH HE DREW WAS THAT THEY WERE ALL BEAUTIFUL IN THE ORIGINAL IDEA THE LINES OF EACH FACE HOWEVER DISTORTED BY PAIN WOULD HAVE BEEN IN REST ABSOLUTELY BEAUTIFUL AND THE WHOLE OF THE EXECUTION BORE WITNESS TO THE FACT THAT UPON THIS ORIGINAL BEAUTY THE PAINTER HAD DIRECTED THE ARTILLERY OF ANGUISH TO BRING DOWN THE SKY SOARING HEIGHTS OF ITS DIVINITY TO THE LEVEL OF A HATED EXISTENCE TO DO THIS HE WORKED IN PERFECT ACCORDANCE WITH ARTISTIC LAW FALSIFYING NO LINE OF THE ORIGINAL FORMS IT WAS THE SUFFERING RATHER THAN HIS PENCIL THAT WROUGHT THE CHANGE THE LATTER WAS THE WILLING INSTRUMENT TO RECORD WHAT THE IMAGINATION CONCEIVED WITH A CRUELTY COMPOSED ENOUGH TO BE CORRECT
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