UTOPIA OF USURERS - I.Art and Advertisement

Utopia of Userers, et al

by Gilbert K. Chesterton

UTOPIA OF USURERS - I.ART AND ADVERTISEMENT, UTOPIA OF USERERS, ET AL by Gilbert K. Chesterton
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I propose, subject to the patience of the reader, to devote two or three
articles to prophecy. Like all healthy-minded prophets, sacred and
profane, I can only prophesy when I am in a rage and think things look
ugly for everybody. And like all healthy-minded prophets, I prophesy in
the hope that my prophecy may not come true. For the prediction made by
the true soothsayer is like the warning given by a good doctor. And the
doctor has really triumphed when the patient he condemned to death has
revived to life. The threat is justified at the very moment when it is
falsified. Now I have said again and again (and I shall continue to say
again and again on all the most inappropriate occasions) that we must hit
Capitalism, and hit it hard, for the plain and definite reason that it is
growing stronger. Most of the excuses which serve the capitalists as
masks are, of course, the excuses of hypocrites. They lie when they claim
philanthropy; they no more feel any particular love of men than Albu felt
an affection for Chinamen. They lie when they say they have reached their
position through their own organising ability. They generally have to pay
men to organise the mine, exactly as they pay men to go down it. They
often lie about the present wealth, as they generally lie about their past
poverty. But when theysay that they are going in for a "constructive
social policy," they do not lie. They really are going in for a
constructive social policy. And we must go in for an equally destructive
social policy; and destroy, while it is still half-constructed, the
accursed thing which they construct.


The Example of the Arts

Now I propose to take, one after another, certain aspects and departments
of modern life, and describe what I think they will be like in this
paradise of plutocrats, this Utopia of gold and brass in which the great
story of England seems so likely to end. I propose to say what I think
our new masters, the mere millionaires, will do with certain human
interests and institutions, such as art, science, jurisprudence, or
religion--unless we strike soon enough to prevent them. And for the sake
of argument I will take in this article the example of the arts.

Most people have seen a picture called "Bubbles," which is used for the
advertisement of a celebrated soap, a small cake of which is introduced
into the pictorial design. And anybody with an instinct for design (the
caricaturist of the Daily Herald, for instance), will guess that it was
not originally a part of the design. He will see that the cake of soap
destroys the picture as a picture; as much as if the cake of soap had been
used to Scrub off the paint. Small as it is, it breaks and confuses the
whole balance of objects in the composition. I offer no judgment here
upon Millais's action in the matter; in fact, I do not know what it was.
The important point for me at the moment is that the picture was not
painted for the soap, but the soap added to the picture. And the spirit
of the corrupting change which has separated us from that Victorian epoch
can be best seen in this: that the Victorian atmosphere, with all its
faults, did not permit such a style of patronage to pass as a matter of
course. Michael Angelo may have been proud to have helped an emperor or a
pope; though, indeed, I think he was prouder than they were on his own
account. I do not believe Sir John Millais was proud of having helped a
soap-boiler. I do not say he thought it wrong; but he was not proud of it.
And that marks precisely the change from his time to our own. Our
merchants have really adopted the style of merchant princes. They have
begun openly to dominate the civilisation of the State, as the emperors
and popes openly dominated in Italy. In Millais's time, broadly speaking,
art was supposed to mean good art; advertisement was supposed to mean
inferior art. The head of a black man, painted to advertise somebody's
blacking, could be a rough symbol, like an inn sign. The black man had
only to be black enough. An artist exhibiting the picture of a negro was
expected to know that a black man is not so black as he is painted. He
was expected to render a thousand tints of grey and brown and violet: for
there is no such thing as a black man just as there is no such thing as a
white man. A fairly clear line separated advertisement from art.


The First Effect

I should say the first effect of the triumph of the capitalist (if we
allow him to triumph) will be that that line of demarcation will entirely
disappear. There will be no art that might not just as well be
advertisement. I do not necessarily mean that there will be no good art;
much of it might be, much of it already is, very good art. You may put it,
if you please, in the form that there has been avast improvement in
advertisements. Certainly there would be nothing surprising if the head
of a negro advertising Somebody's Blacking nowadays` were finished with as
careful and subtle colours as one of the old and superstitious painters
would have wasted on the negro king who brought gifts to Christ. But the
improvement of advertisements is the degradation of artists. It is their
degradation for this clear and vital reason: that the artist will work,
not only to please the rich, but only to increase their riches; which is a
considerable step lower. After all, it was as a human being that a pope
took pleasure in a cartoon of Raphael or a prince took pleasure in a
statuette of Cellini. The prince paid for the statuette; but he did not
expect the statuette to pay him. It is my impression that no cake of soap
can be found anywhere in the cartoons which the Pope ordered of Raphael.
And no one who knows the small-minded cynicism of our plutocracy, its
secrecy, its gambling spirit, its contempt of conscience, can doubt that
the artist-advertiser will often be assisting enterprises over which he
will have no moral control, and of which he could feel no moral approval.
He will be working to spread quack medicines, queer investments; and will
work for Marconi instead of Medici. And to this base ingenuity he will
have to bend the proudest and purest of the virtues of the intellect, the
power to attract his brethren, and the noble duty of praise. For that
picture by Millais is a very allegorical picture. It is almost a prophecy
of what uses are awaiting the beauty of the child unborn. The praise will
be of a kind that may correctly be called soap; and the enterprises of a
kind that may truly be described as Bubbles.