peasants of romance, although I had lived long enough in the country as a boy to know they did not exist, and when I went abroad it was to the Italy of romance I turned my steps. I know that you and your contemporaries seek beauty in things as they are, tangible and real. To me there was beauty only in the transformation of reality, which had already been done by others. In the eighties there came a new art-creed. I tried to adopt it, but the result was lip-service only, for my heart rebelled against it."
"But reality, Gert, is not a fixed conception. It appears different to every one who sees it. An English painter once said to me: 'There is beauty in everything; only your eyes see it or do not see it.'"
"I was not made to conceive reality, only the reflection of it in the dreams of others. I lacked entirely the capacity to form a beauty for myself out of the complexity of realities; I knew my own ineffectiveness. When I came to Italy the baroque took my heart and fancy. Can you not understand the agony of my soul on realizing my inefficiency? To have nothing new or personal wherewith to fill up form, only develop the technique in soaring fancies, break-neck foreshortenings, powerful effects of light and shade, and cunningly thought-out compositions. The emptiness of it all is to be hidden under the esctasy—contorted faces, twisted limbs, saints, whose only true passion is the dread of their own engulfing doubt, which they try to drown in sickly exaltation. It is the despair of the good, the work of an epigon school wishing to fascinate—mostly themselves."
Jenny nodded. "What you say, Gert, is at least your own subjective view. I am not so sure that the painters you speak of were not highly pleased with themselves."
He laughed and said: "Perhaps they were—and perhaps this is my hobby-horse because for once I had—as you say—a subjective view."
