Writer 1879: Solitary Journey in France

Chapter 191 Let's go back to Paris
Lionel recalled Dean Lichtenberger's point of view.

He knew that from an artistic perspective, the controversy could not be eliminated no matter what—after all, aesthetics is a highly subjective product.

However, what Lionel possesses is an accumulation of art historical knowledge that transcends this era by 150 years. Many changes that were overlooked in this era will only have their value rediscovered after the passage of time.

Lionel first affirmed the dean's point: "Regarding the development path of literature, I would like to offer a perhaps more realistic perspective."

Why is it that in our time, ordinary farmers like Father Milon and marginalized women like Boule de Suif are increasingly becoming the protagonists of literary works?
It's important to understand that in classical times, the protagonists of literary works were mostly gods from Mount Olympus, heroes from epic poems, or nobles from the court.

He paused, his gaze sweeping over the young students below the stage: "One of the most crucial reasons is perhaps surprisingly simple—"

Since the 17th century, the cost of writing has decreased dramatically!

The classroom fell silent, and even Dean Lichtenberger showed interest.

Lionel's voice echoed under the dome of the lecture hall: "Imagine in the Middle Ages or even earlier, in the Greek and Roman era, parchment was very expensive, and scribes were also very well paid."

Even human lifespan is incredibly short.

In that era, if someone were to waste such precious resources and time not to record the great deeds of heroes or the legends of gods, but instead to describe why an old farmer hated the Prussians, or how a prostitute was isolated in a carriage...

Everyone would probably think he's crazy.

His words elicited a soft chuckle.

After the laughter subsided, Lionel's tone became slightly more animated: "However, with the introduction of papermaking and printing techniques from China, paper became cheap, and books were able to be mass-produced."

Writing and reading are no longer the exclusive privilege of the church and nobility. More importantly, the 'consumers' of literature have changed.

The emerging consumer class yearns to see reflections of their own lives in literature. This is when market forces begin to exert their influence.

Some students in the audience felt a sense of identification with the speaker.

Among artists, painting and music are even more impoverished than writers and poets, relying on generous patrons more than poetry and novels.

However, the walls of castles and mansions have limited space. Once famous works are hung on them, there is not much space left for young people.

It wasn't until the 19th century, with the rise of the bourgeoisie, that ordinary citizens would buy a few paintings to decorate their monotonous walls—and painters moved from a craft-like apprenticeship system to a more academic, mass-production approach.

Lionel knew his strategy had worked: "As a result, the subject matter of literature inevitably shifted. From praising gods and heroes, to depicting knights and nobles, and then to portraying ordinary, even humble, little people."

The reason why the stories of these ordinary people can be written, disseminated, and read is primarily because the material cost of writing and reading them has become affordable.

Technological advancements have opened a window for literature to access a broader and more authentic human experience.

Dean Lichtenberger's brow furrowed slightly; he felt that Lionel's speech seemed to be heading in a direction he didn't want to see.

But he couldn't interrupt, so he could only patiently listen to what the young man had to say.

Lionel paused briefly, then said humbly, "I was just wondering if the development of painting art also hides a similar pattern?"

Everyone's attention was drawn to this sentence.

"While the masterpieces of the Renaissance masters are undoubtedly timeless, their creation often relied on patronage from the church or nobility. The themes naturally had to conform to the requirements of their patrons—"

Religion, mythology, history, portraits of nobles… this art is not only ‘sublime’ but also ‘expensive.’

Lionel's voice became increasingly sincere, but the seductive undertones in his words also grew stronger.

"So, is it possible that with the development of painting materials themselves—for example, in the past, 'ultramarine' could only be obtained by grinding lapis lazuli, and its price was equivalent to the weight of gold;

One gram of 'bone snail purple' requires extraction from 20,000 bone snails, making it more expensive than gold.

And now? These pigments can all be chemically synthesized, then poured into lead pipes in factories, and finally ended up in everyone's pockets.

Some students in the audience nodded subconsciously. They also knew that pigments were expensive in the past, and that if it weren't for the widespread availability of chemical pigments, most people here wouldn't have been qualified to learn to paint.

Lionel's voice didn't stop: "For example, aren't canvases and drawing boards becoming cheaper and more durable year by year?"
The advent of railways made it easier for painters to leave their studios and venture outdoors, into the countryside, and into the city…

He noticed that some students' eyes were starting to light up.

"When painting tools and materials become as convenient and widely available as paper and ink, will this also liberate painters?"

How can this free them from dependence on large orders and specific funders to some extent?

Will they also start to pay attention to those more ordinary, more fleeting, and more personal scenes?

—For example, haystacks in the fields, light and shadow on the water, train stations in the city, crowds in cafes, or even the tired back of an ordinary farmer…

Dean Lichtenberger's expression turned rather unpleasant.

Lionel never mentioned "Impressionism" once, but he mentioned it in every sentence.

Although the students at the Vienna Academy of Fine Arts were repeating the "basic skills" of classicism every day, they had also witnessed the unconventional new school of painting from Paris.

Therefore, those unconventional and rebellious images surfaced in their minds...

Lionel concluded: "The Homeric epics will always be a treasure of human literature, but as writers, we cannot repeat them again and again."

The evolution of art is not simply a matter of 'progress' or 'regression,' but rather more like a growing tree—the traditional branches remain robust, while new shoots stretch towards the sunlight.

If any one of them is missing, the tree will die.

His speech ended. A brief silence fell over the classroom, followed by enthusiastic applause.

Many students wore expressions of excitement, contemplation, and confusion.

Dean Lichtenberger also breathed a sigh of relief. In the end, Lionel did not reveal his true intentions, but instead reaffirmed the importance of the painting tradition.

In this way, even if one's own goal is not achieved, the invited guests will not be embarrassed.

……

Sigrún has taught at the Iceland University of the Arts as a part-time lecturer since and was Dean of the Department of Fine Art from -. In – she held a research position at Reykjavík Art Museum focusing on the role of women in Icelandic art. She studied fine art at the Icelandic College of Arts and Crafts and at Pratt Institute, New York, and holds BA and MA degrees in art history and philosophy from the University of Iceland. Sigrún lives and works in Iceland.

On the return journey in the carriage, Zola patted Lionel on the shoulder: "Léon, your remarks today were very clever, avoiding both direct confrontation and making us look like 'traitors to Paris'."

That point about lead-pipe paint is both astonishing and reasonable.

Huysman finally couldn't help but speak up: "That's so well said! Those old fogies simply don't understand that the life of art lies in feeling and authenticity, not in rigidly adhering to rules!"

Maupassant chuckled and put his arm around Lionel's neck: "Technology determines subject matter? Haha, should I say that it was the advent of quill pens and cheap paper that allowed me to write so many love stories?"

But...thinking about it carefully, it seems to make some sense?

Lionel smiled but did not answer, turning his gaze back to the window.

Zola's voice rang out again: "However, there was one sentence in your final speech that I didn't understand—"

'I hope the Vienna Academy of Fine Arts can be more tolerant of young painters who dream of entering it, and even if they are not admitted, encourage them to continue on the path of art…'

Is this being addressed to some young person you know? Was he rejected by the Vienna Academy of Fine Arts? Is he still painting?

Lionel didn't answer, but said, "It's cold, and I'm tired. Let's go back to Paris..."

(This is a supplement to yesterday's post; there will be more later tonight.)
(End of this chapter)