Predigested thought and prejudice against the emerging artist
Predigested thought and prejudice against the emerging artist
1.1 Proletariat
Being poetic can be daunting when the dinner table is attended by those that do not share your art sensibilities.
This has always fascinated me in the proletariat socio- economic environment I was brought up in and the views my community had towards poetry, art and particularly classical music.
These toiling workers had a deep seated suspicion towards any person that had a sincere interest in these faculties. Such a person was immediately awarded the silent label of weird, prententious or even snobbish.
The workers class community subconsciously and collectively decided that these refined tastes belonged to the bourgeoisie and high class societies because it was assumed some education was required to appreciate these activities. That it was a frivolous activity they could not relate to because they did not have the inclination, resources or recreational time to get involved in such projects.
Most children's early ambitions withered away when such a thought was entertained in an open conversation and the parents reprimanded such a boy or girl for thinking such a ridiculous vocation as art.
Art was further seen as nonsensical and according to them clear evidence of not being an honorable and pragmatic solution to earn a livelihood or to maintain your survival. That hard labor in a shipping yard or at an industrial factory was more advisable.
Most of them gave the artistic vocational idea up and suppressed such an expectation and became themselves the most vicious advocates against such a desire. Or it became a secret passion that never optimally realized itself and remained in drawers and hidden between the underpants and when found by the missus embarrassment.
1.2 The Bourgeoisie:
Art and poetics was always a very hip and stylish lounge conversation for the contemporary middle upper class society and in depth knowledge and understanding of it was a sign of intelligence, merit and good taste.
The ulterior reasons were therefore sometimes clear and no wonder the proletariat had an issue with this because it was thought to be permeated with hypocrisy and pettiness.
The Bourgeoisie saw the certain ego benefit to it and that it enhanced their elitism and also strengthened their social network with more influential individuals in society that had strong interest in aesthetics. The bourgeois was rarely practitioners but more appropriately appreciators of the Arts and culture of the day and then yet again most probably for social-financial reasons more then aesthetic reasons.
1.3 The Artist under fire:
The bourgeoisie shared with the proletariat the suspicion against the artistic vocation or at least in his own stakeholder sphere in that he guided his boy politely away from such ideas and rather nudged him further to consider a career in law or banking. He strongly counseled his daughter to steer away from any serious marital relationship with an emerging poet or painter and told her the bohemia lifestyle was a life of hardship. (This may also give insight into the alleged tendency of the artist to be promiscuous par excellence!)
The proletariat at least was honest that he was clueless and remained robustly indifferent to such a craft but that the bourgeoisie was the first one that boasted that he purchased tickets to the theater for a Hendrik Ibsen play or to the exhibition of Vincent Van Gogh's Flemish landscape paintings with the aristocratic mingling.oppertunities for future tenders.
Prejudice is then on both sides of the same coin and what does the emerging artist do and who is his real patrons and benefactors to his effort?
1.4 The creative career under fire: guilt or gratification:
It is further posed that the truth is deeper then the financial feasibility and sustainability but it is a main driver that steers away from art as a conventional work.
That the proletariat feels subconsciously guilty and inadequate towards art and those that consider the practice of art professionally or even recreationally, guilt that he is unable to access its self realization benefits and that he does not perceive any pragmatic or recreational benefit in its application or appreciation .
That the bourgeoisie only sees the recreational and gratification benefits in art and also doubts its pragmatic application. Further benefit can still be considered for investing in art for revenue purposes but insofar vocation in the field certain bourgeoisie sees no security and considers it an unacceptably high risk to take.
1.5 The artist as outsider:
The artist cannot resort to any of these stereotypes and is forced to reinvent himself in such way not antagonize his patrons. He goes so far as Zola and studies their behavior in the naturalist tradition and serves it back to them for their entertainment or sheer disgust.
The serious artist also measures them regarding their sincere interest in his work and has an intrinsic suspicion towards their deficiencies and ulterior motives towards his work!
He will be never be part of their societal groupings and may be admired, seen as a charlatan or some kind of mystic witch doctor that invokes the muse for his productivity
It is interesting how carefree children and rebellious teenagers worship artists and this actually should serve as a further cue for in depth exploration and investigation.
1.6 Essayist note:
The opinion contained in this essay is not cast in stone and the logical fallacy of "all and some" grandly prevails here. It is hoped that it will spur constructive debates in cafes and libraries and other gathering points between those interesting people's coined artists!
1.7 Sources:
My own experience
Research on the life of Vincent Van Gogh
Research on the life of Hendrik Ibsen, A Dolls house, Penguin Classics
Survey of the two mentioned social groups regarding their perception
Of the artistic career
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