Anna Rastatter

ENG 300M
Paper 1
The Artist and the Observer: A Balance of Tradition and Abstract
Throughout much of the nineteenth century, artists aspired to meet very realistic and
traditional standards of fine art. While still respecting the established practice, some brave artists
made an effort to diverge from the traditional standards in their works of art and literature.
Within this art, the creator and the audience form a relationship wherein both suspend their
preconceived standards of convention and apply their imagination to make sense of the work.
Traditional art is tied to reality through its standards of detailed line and color. In traditional
works, artists represent life exactly as it is perceived by the audience. Fantastical artwork does
not value traditional minutia like linearity, characterization and setting. When artists unseat the
principles of tradition the focus shifts to the thoughts and emotions inspired by the work. By
creating a fantastical work, the artist moves the audience in such a way that it creates a
conversation regarding the techniques and significance of the art. The fantasy in art brings about
a cathartic connection between the creator and the observer that tradition alone cannot.
In Nathanial Hawthornes novel, The Marble Faun, the relationship between the author
and reader is established in the preface to the story, where Hawthorne explains that he wrote this
novel in Rome, a foreign land, renowned for its artistic tradition. Hawthorne grew to appreciate
this city for its relationship with traditional artistry. Hawthornes story takes this traditional
setting and shrouds it in fantasy. Within the events of the story, Hawthorne rejects reality by
leaving out details that would demean the purpose of the art. He asks the reader, in a wry way, to
accept fantasy for what it brings to the work in the preface to the story. The events of the story

are elaborate and unclear. This novel constantly balances the traditional artistic setting and the
fantastical events and characters. In the postscript, Hawthorne states: [The author] designed the
story and the characters to bear, of course, a certain relation to human nature and human life, but
still to be so artfully and airily removed from our mundane sphere, that some laws and properties
of their own should be implicitly and insensibly acknowledged. In order to enjoy the story, the
reader must suspend belief and accept the fanciful tale at face value. The characters represent
human life, but in an artful way that occasionally rejects the ordinary. Hawthorne goes on to say,
[The Author] had hoped to mystifybetween the Real and the Fantastic, in such a manner that
the readers sympathies might be excited to a certain pleasurable degree The life in the work
comes from the reader accepting fantasy rather than interpreting the work based on the standards
of tradition. This promotes the relationship between Hawthorne and his audience. Hawthornes
hope, as evidenced by the exclusive capitalization of Real and Fantastic is that the reader will
value the work for its fantasy rather than basing it strictly on reality.
Hawthorne also creates a balance between fantasy and tradition in the way he describes
the setting, Rome. The valued artistic tradition is conveyed in Hawthornes description of the
historical Roman places that the characters visit. Through Hawthornes illustrations of the
traditional Roman monuments, it is clear that he respects the city for its Old World authenticity.
Hawthorne descriptions of Romes dark, mysterious history are also moving. The details of the
novel are found in its description, rather than the events of the story. This promotes ekphrasisthe
transformation from one medium of art to another . Hawthorne is utilizing one medium of art,
writing, to paint a picture for the audience. He bridges the gap between literature and painting
in his description. This further develops the bond between author and audience. Hawthornes
readers, past and present, are so captivated by these descriptions of Rome that they should be

inspired to travel to this fantastical city. He weaves these fantastical characters and events into
this place of tradition. The description of events at the Roman catacombs is an example of this
dark tradition blending with fantasy. Rather than abiding by traditional standards through
detailing the setting and events of the story, Hawthorne wants the reader to enter into the
fantastical tale that hes created. The relationship between artist and audience grows from this
suspension of tradition and entrance into fantasy.
Some artists recognize that deviating from tradition can result in a magnificent work of
art. Other artists believe only convention can result in a masterpiece. The devotion to tradition
and complete denial of fantasy impairs the relationship between artist and audience. In many
texts the singular belief in tradition leads to the characters demise. Initially, the strict rules of
traditional art are outlined in Honor De Balzacs story, The Unknown Masterpiece. The main
characters speak to the importance of tradition through their critique of artwork. The old man,
Frenhofner spends the story criticizing artists for not having a good sense of tradition. His genius
of traditional art is made known to the other artists in his critique on Porbuss painting. He
outlines the ways in which an artist brings life and realism into their work by saying:
At a first glance she is admirable; look at her again, and you see at once that she is glued to the
background, and that you could not walk round her. She is a silhouette that turns but one side of
her face to all beholders, a figure cut out of canvas, an image with no power to move nor change
her position. I feel as if there were no air between that arm and the background, no space,

no sense of distance in your canvas. The perspective is perfectly correct, the strength of
the coloring is accurately diminished with the distance; but, in spite of these praiseworthy
efforts, I could never bring myself to believe that the warm breath of life comes and goes

in that beautiful body. It seems to me that if I laid my hand on the firm, rounded throat, it
would be cold as marble to the touch. (Balzac)
Frenhofer insinuates that Porbus could bring the painting to life by following the rules of
tradition. The warm breath of life could come to the painting if Porbus abided by traditional and
gave his work the ability to move, and by adding distance within the depiction. In Frenhofers
opinion, tradition is of the utmost importance in art as it brings life to the work. He preaches
about his exemplary masterpiece that has brought the represented muse to life.
In the end, it is revealed that Frenhofners work is actually unintelligible. The artists
observing the painting, Porbus and Poussin, react to the nontraditional work in a way that leads
to Frenhofers demise. In his devotion to the work of tradition, Frenhofner has become obsessed
with capturing the perfect line and color scheme that he fails to capture convention and instead
enters into the fantastical without even realizing it. Similar to Frenhofner, Henry James created a
character bent on following the laws of tradition in the story The Madonna of the Future.
Theobald is an artistic tradition, who is so enraptured with staying true to tradition that he is
unable to even begin painting. Theobald worships Serafina, a woman he perceives as the
reincarnated Madonna. He states, I have absorbed her little by little; my mind is stamped and
imbued, and I have determined now to clinch the impression; I shall at last invite her to sit for
me! For years Theobald procrastinates painting her likeness, but he does not notice that Serafina
begins to age. Frenhofner and Theobald are overly committed to tradition. It inhibits their ability
to create art and, in turn, establish a relationship with their audience. Frenhofner preached to his
audience (Poussin and Porbus) strictly about tradition. When the old man unveiled his
nontraditional work, his audience was not able to accept its fantastical characteristics.

Inspired by Balzacs short story, Pablo Picasso illustrated a number of simple drawings.
Picasso did not create drawings that perfectly depict the story. Instead his drawings rely on
symbolism. This makes the audience enter into fantasy by questioning the meaning behind the
artists work. These drawings promote the relationship between artist and observer by making the
audience suppose what the drawings are depicting and the ways in which it connects to the
themes of Balzacs story. For some of the sketches, reality must be suspended by both the artist
and observer in order to interpret the pictures. Picassos lines are ambiguous. He utilizes crosshatching, a very basic technique in art, to both blur the lines and create shadow. These techniques
stray from traditional standards of clear lines and distinct shading. The sketches promote a
conversation. Picasso, the artist, creates the topic of conversation via his imaginative technique.
The audience continues the conversation by interpreting the fantastical meaning. Picassos
drawings are another example of ekphrasis. As an inspired observer to The Unknown
Masterpiece Picasso shifted artistic mediums to create his own work that incorporates fantasy.
Ekphrasis is born from this relationship between artist and audience.
By creating a work that suspends belief and relies on fantasy, the artist can inspire a
connection with their audience. Many authors incorporate characters into their stories that are
faulted by their complete reliance on tradition. It blinds them to the possibility of unique and
fantastical masterpieces. When an artist strays from tradition in their work, the audience is led to
view the art through a fantastical lens. The bond formed between artist and audience is
established in their shared suspension of realistic tradition.

Bibliography
Balzac, Honor De. The Unknown Masterpiece. Paris: Charles-Bchet. 1845. Print
Hawthorne, Nathaniel. The Marble Faun. Boston: Ticknor and Fields. 1860. Print.
James, Henry. The Madonna of the Future. Macmillan and Co. 1887. Print.
Mitchell, W.J.T. Picture Theory. Chicago: The University of Chicago Press. 1994. Print.
Picasso, Pablo. Le Chef-duvre inconnu. Drawing. 1931.

Research Project: For my final research project, I would like to further explore Nathanial
Hawthornes, The Marble Faun. I would like to investigate the ways in which Hawthornes
chapters are a detailed, individual work of art. The description, rather than the actual storyline of
the chapters, like the detail in abstract paintings, provides the magic of the work. It is about
suspending your belief and getting caught up in the fancifulness of the tale that makes the story. I
would also like to explore the ways in which image-books bring life to the work. Hawthornes
novel made me crave an image to go along with the description. I would like to discuss the
description and how it brings life and reality to the story. Goodness. Well this really is all about
ekphrasis. Why didnt you write your paper about this, if it interests you so much. The question
is, how to turn this into a research paper. You could start by looking up the history of criticism of
this novel. See if others felt as you do.