Part 7
At first sight, however, it is curious that I should be able to quote no composers and no dramatists; it is impossible to take Guy d'Hardelot and Theresa del Riego seriously. And the women dramatists, taken as a whole, hardly exist. This would go to show that there is some strength in the contention that woman is purely executive and uncreative; but this cannot be true, for the list of writers I have given, which is very far from being exhaustive, and which is being augmented every day by promising girl writers, shows that woman has creative capacity, creative in the sense that she can evolve character and scene, and treat relations in that way which can be described as art. If, therefore, there have been no women painters of note, it cannot be because woman has no creative capacity. It may be suggested that those women who have creative capacity turn to literature, but that is a very rash assumption. For creative men turn to any one of the half-dozen forms of art, and are not monopolized by literature; there is no reason, mental or physical, why the female genius should be capable of traveling only along one line. The problem is a problem of direction, a problem of medium.
My potential opponents will probably deny that there have been, and are, no women painters. They will quote the names of Angelica Kaufmann, of Vigée-Lebrun, of Rosa Bonheur, of Berthe Morisot, of Elizabeth Butler; the more modern will mention Ella Bedford, Lucy Kemp-Welch; the most modern will put forward Anne Estelle Rice; and one or two may shyly whisper Maude Goodman. But, honestly, does this amount to anything? I do not suppose that Lady Elizabeth Butler's "Inkermann" or "Floreat Etona" will outlive the works of Detaille or of Meissonier, however doubtful be the value of these men; the fame of Angelica Kaufmann, though enhanced by the patronage of kings, has not been perpetuated by Bartolozzi, in spite of that etcher's inflated reputation. Rosa Bonheur's "Horse Fair" hangs in the National Gallery, and another of her works in the Luxembourg, but merits which balance those of Landseer are not enough; and Berthe Morisot walked, it is true, in the footprints of Manet, but did her feet fill them? The truth of the matter is that there has not been a woman Velasquez, a woman Rembrandt.
Now, as some of my readers may know, I do not make a habit of belittling woman and her work. My writings show that I am one of the most extreme feminists of the day, and I am well aware that woman must not be judged upon her past, that it is perhaps not enough to judge her on her present position, and that imagination, the only spirit with which criticism should be informed if it is to have any creative value, should take note of the potentialities of woman. But still, though we may write off much of the past and flout the record of insult and outrage which is the history of woman under the government of man, we cannot entirely ignore the present: the present may not be the father of the future, but it is certainly one of its ancestors. We have to-day a number of women who paint--the great majority, such as Mrs. Von Glehn, Ella Bedford, Lucy Kemp-Welch, and others who are hung a little higher over the line, are rendering Nature and persons with inspired and photographic zeal; others, such as Anne Estelle Rice, Jessie Dismorr, Georges Banks, are inclined to "fling their paint pot into the faces of the public." Some do not abhor Herkomer, others are banded with Matisse; but though to be Herkomer may not be supreme, and though to be Matisse may perhaps be insane, it must regretfully be conceded that the heights of the Royal Academy and of Parnassus (or whatever the painter's mountain may be) are not haunted by the woman painter. Without being carried away by the author of "Bubbles", I am not inclined to be carried away by Maude Goodman and the splendours of "Taller Than Mother." Lucy Kemp-Welch's New Forest ponies are ponies, but I do not suppose that they will be trotting in the next century; they do not balance even the work of Furse.
Let me not be reproached because I use the low standard of the Royal Academy, for if woman has a case at all she must prove herself on all planes; it is as important that she should equal the second-rate people as that she should shine among the first-rate. I do not look for a time to come when woman will be superior to man, but to a time, quite remote enough for my speculations, when she will be his equal, when she will be able to keep up with all his activities. Curiously enough, the advanced female painters are not so inferior to the advanced men painters as are the stereotyped women to their masculine rivals. There is excellence in the work of Anne Estelle Rice and Georges Banks, though they perhaps do not equal Fergusson; but they are less remote from him in spirit and realization than are the lesser women from the lesser men. That is a fact of immense importance, for it is evident that nothing is so hopeful as this _reduction_ in the inferiority of female painting. It may be that masculine painting is decaying, which would facilitate woman's victory, but I do not think so; modern masculine painting has never been so vigorous, so inspired by an idea since the great religious uprush of the Primitives.
Women are striving to conform not to a lower but to a higher standard, a standard where the sensuality of art is informed by intellect. If, therefore, they conform more closely to the standard which men are establishing, they are more than holding their own; they are gaining ground.
Yet they are still, in numbers and in quality, much inferior to the men. Anne Estelle Rice alone cannot tilt in the ring against Fergusson, Gaugin, Matisse, Picasso. And it is not true that they have been entirely deprived of opportunity. Up to the 'seventies or 'eighties, woman was certainly very much hampered by public opinion. For some centuries it had been held that she should paint flowers, but not bodies; nowadays, dizzily soaring, she has begun to paint cranes and gasometers. The result of the old attitude was that the work of women was mainly futile because it was expected to be futile; though painters were not always gentlemen, female painters seemed to have to be ladies, but times changed. There came the djibbah, Bernard Shaw, and the cigarette; women began to flock into Colarossi's and the Slade, into the minor schools where, I regret to say, the new spirit has yet to blow and to do away with the interesting practice of the life class where the male model wears bathing drawers. Woman has had her opportunity, and any morning on the Boulevard Montparnasse you can see her carrying her paraphernalia towards the Grande Chaumière and the other studios. She is suffering a good deal from the effects of past neglect, but much of that neglect is so far away that we must ask ourselves why woman has not yet responded to the more tender attitude of modern days. For she has not entirely responded; she is still either a little afraid of novelty or inclined to hug it, to affront the notorious perils of love at first sight.
I believe that the causes of women's failure in painting are twofold--manual and mental. Though disinclined to generalize upon the female temperament, because such generalizations generally lead to the discovery of a paradox, I am conscious in woman of a quality of impatience.
While woman will exhibit infinite patience, infinite obstinacy, in the pursuit of an end, she is often inclined to leap too quickly towards that end. To use a metaphor, she may spend her whole life in trying to cut down a tree without taking the preliminary trouble to have her ax sharpened; she does unwillingly the immense labor on the antique, she neglects her anatomy, she sacrifices line to color.
This is natural enough, for she has a keen sense of color. As witness her clothes. When clothes are the work of woman they are generally beautiful in color; when they are beautiful in line they are generally by Poiret. For line tends to be pure and cold, and I hope I will shock nobody when I suggest that purity and coldness are masculine rather than feminine. Color is the expression of passion, line is the expression of intellect, or rather of that curious combination of intellect and passion, of intellect directing passion, and of passion inflaming intellect, which is art as understood by man. It is to this second group of causes, those I have called mental, that the inferiority of the woman painter is traceable. There is a lack of intellect in her work. It is true that the male painter is often just a painter, and that I can think of no case to-day which reproduces the engineering capacities of Leonardo da Vinci, but I refer rather to a general intellectual sweep than to a specialized capacity. Men do not hold themselves so far aloof from politics, business and philosophy as do women; too many of the latter read nothing whatever. For some painters a novel is too much, while their selection among the contents of the newspaper might be improved upon by a domestic servant. There is a lack of depth, a lack of intellectual quality, of that "general" quality which, directed into other channels, produces the engineer, the business man and the politician. I do not believe in "artistic capacity", "scientific capacity", "business capacity"; there is nothing but "capacity" which takes varying forms, just as there is red hair and black hair, but always hair. In male painting intellect sometimes stands behind passion; in female painting the attitude is purely sensuous, and that is not to be wondered at: from the days of the anthropoid ape to this one we have developed nothing in woman but the passionate quality; we have taught her to charm, to smile, and to lie until she thinks she can do nothing but charm, and believes in her own lies. We have refused her education, we have made her into a slave. Thus, while many of the male painters are not intellectuals, they have been able to draw upon the higher average quality of the male mind, while woman to-day, desirous of so doing, will find very little to the credit of the account of her sex.
What is the conclusion to be drawn? It is to my mind obvious enough. If woman is producing inferior work it is because she is still an inferior creature, but I do not think she will remain one. Her progress during the last thirty years has been staggering; she has forced herself into the trades, into professions, into politics; she has produced standard works; in one or two cases she has been creative in science; and I believe, therefore, that her intellect is on the up grade, and that her sex is accumulating those resources which will serve as a background to the artistic development of her passionate faculty. Woman is about to gain political power. She will use it to improve the education of her sex, to broaden its opportunities. She is coming out into the world in coöperation and in conflict with man; she will become more self-conscious, and gain a solidarity of sex upon which will follow mutual mental stimulation and specialized sex development. For that reason I believe woman's progress will not be less in the pictorial arts than in other fields if she develops in herself the fullness of life and its implications. She will inevitably wage the sex war: she will gain her artistic deserts after the sex peace.
V
THE DOWNFALL OF THE HOME
There is something the matter with the home. It may be merely the subtle decay which, in birth beginning and in death persisting, escorts all things human and perchance divine. It may be decay assisted by the violence of a time unborn and striving through novelty toward its own end, or toward an endlessness of change. But, whatever the causes, which interest little a hasty generation, signs written in brick and mortar and social custom, in rebellion and in aspiration, are not wanting to show that the home, so long the center of Anglo-Saxon and American society, is doomed. And, as is usual in the twentieth century, as has been usual since the middle of the nineteenth, woman is at the bottom of the change. It is women who now make revolutions. A hundred years ago it was men who made revolutions; nowadays they content themselves with resolutions. So it has been left for woman, more animal, more radical, more divinely endowed with the faculty of seeing only her own side, to sap the foundations of what was supposed to be her shelter.
I do not suppose that the household has ever been quite as much of a shelter for women as the Victorian philosophers said, and possibly believed; an elementary study of the feminist question will certainly incline the unprejudiced to see that the home, which has for so long masqueraded in the guise of woman's friend, has on the whole been her enemy; that instead of being her protector it has been her oppressor; that it has not been her fortress, but her jail. Woman has felt in the home much as a workman might feel if he were given the White House as a present, told to live in it and keep it clean without help on two dollars a week. If the home be a precious possession, it may very well be a possession bought at too high a price--at the price of youth, of energy, and of enlightenment. The whole attitude of woman toward the home is one of rebellion--not of all women, of course, for most of them still accept that, though all that is may not be good, all that is must be made to do. Resignation, humility, and self-sacrifice have for a thousand generations been the worst vices of woman, but it is apparent that at last aggressiveness and selfishness are developing her toward nobility. She is growing aware that she is a human being, a discovery which the centuries had not made, and naturally she hates her gilded cage.
Woman is tired of a home that is too large, where the third floor gets dirty while she is cleaning the first; of a home that cannot be left lest it should be burglared; of a home where there is always a slate wrong, or a broken window, or a shortage of coal. She is tired of being immolated on the domestic hearth. One of them, neither advanced nor protesting, gave me a little while ago an account of what she called a characteristic day. I reproduce it untouched:
THE DAY OF A REALLY NICE ENGLISHWOMAN
8 A.M.--Early tea; rise; no bath. [The husband has the only bath, and the boiler cannot make another until ten.]
9 A.M.--Breakfast. [The husband takes the only newspaper away to the office.]
9.30 A.M.--Conversation with the cook: hardness of the butcher's meat; difficulty because there are only three eatable animals; degeneration of the butter; grocery and milk problems.
Telephone.--A social engagement is made.
Conversation with the cook resumed: report on a mysterious disease of the kitchen boiler; report on the oil-man; report on the plumber.
Correspondence begun and interrupted by the parlor-maid, who demands a new stock of glass.
Correspondence resumed; interrupted by the parlor-maid's demand for change with which to pay the cleaner.
Rush up-stairs to show which covers are to go.
Correspondence resumed, and interrupted by the telephone: the green-grocer states that some of the vegetables she wants cannot be procured.
Correspondence resumed; interrupted by the nurse, who wishes to change the baby's milk.
Three telephone calls.
Correspondence resumed, and interrupted by the housemaid, who wants new brooms.
11 A.M.--The children have gone; the servants are at work. Therefore:
11-11.15 A.M.--Breathing space.
11.15-11.45 A.M.--Paying bills--electricity, gas, clothes; checking the weekly books, reading laundry circulars.
12 M.--Goes out. It is probably wet [this being England], so, not being very well off, she flounders through mud. Interview with the plumber as to the boiler; shoes for Gladys; glass for the parlor-maid; brooms for the housemaid; forgets various things she ought to have done; these worry her during lunch.
1.30 P.M.--Lunch.
2.30 P.M.--Fagged out, lies down, but--
2.45 P.M.--The husband telephones to tell her to go to the library and get him a book.
3.15 P.M.--Is fitted by the dressmaker. Feels better.
4.30 P.M.--Charming at tea.
5.45 P.M.--Compulsory games with the children.
6.15 P.M.--Ultimatum from the servants: the puppy must be killed for reasons which cannot be specified in an American magazine.
6.30-6.35 P.M.--Literature, art, music, and science. Then dress for dinner.
7.30 P.M.--Charming at dinner. Grand fantasia to entertain the male after a strenuous day in the city. Conversation: golf, business, cutting remarks about other people, and _no contradicting_.
8.45-9.15 P.M.--Literature, art, music, and science.
Last post: Circulars, bills, invitations to be answered; request from a brother in India to send jam which can be bought only in a suburb fourteen miles distant.
10.30 P.M.--Attempted bath, but the plumber has not mended the boiler, after all.
11 P.M.--Sleep ... up to the beginning of another nice Englishwoman's day.
She may exaggerate, but I do not think so, for as I write these lines three stories of a house hang over my head, and I hear culinary noises below. Being a man, I am supposed to rule all this, but, fortunately, not to govern it. And I am moved to interest when I reflect that in this street of sixty houses, that which is going on in my house is probably multiplied by sixty. I have a vision of those sixty houses, each with its dining room and drawing-room, its four to eight bedrooms, and its basement. There are sixty drawing-rooms in this street, and at 11 A.M. there is not a single human being in them; and at 3 P.M. there is nobody in the sixty dining rooms, except on Sunday, when a few men are asleep in them. And I have horrid visions of our sixty kitchens, our sixty sculleries, our sixty pantries; of our one hundred and fifty servants, and our sixty cooks (and cooks so hard to get and to bear with when you've got them!). And I think of all our dinner sets, of the twelve thousand pieces of crockery which we need in our little street. To think of twelve thousand articles of crockery is to realize our remoteness from the monkey. And the nurses, as they pass, fill me with wonder, for some of them attend one child, some two, while sometimes three children have two nurses--until I wonder what percentage of nurse is really required to keep in order an obviously unruly generation.
Complex, enormous, it is not even cheap. Privacy, the purest jewel humanity can find, seems to be the dearest. This inflated individual home, it is marvelous how it has survived! Like most human institutions, it has probably survived because it was there. It has taken woman's time; it has taken much of her energy, much of her health and looks. Worst of all, it seems to have taken from her some of the consideration to which as a human being she was entitled. Let there be no mistake about that. In spite of proclamations as to the sacredness of the home and the dignity of labor, the fact remains that the domestic man, the kind that can hang a picture straight, is generally treated by male acquaintances with sorrowful tolerance; should he attempt to wash the baby, he becomes the kind of man about whom the comic songs are written. (I may seem rather violent, but I once tried to wash a baby.) So that apparently the dignified occupations of the household are not deemed dignified by man. This is evident enough, for office-cleaners, laundresses, step-girls, are never replaced by men. These are the feminine occupations, the coarse occupations, requiring no special intelligence.
The truth is that the status of domestic labor is low. An exception is made in favor of the cook, but only by people who know what cooking is, which excludes the majority of the world. It is true that of late years attempts have been made to raise the capacity of the domestic laborer by inducing her to attend classes on cooking, on child nurture, etc., but, in the main, in ninety-nine per cent of bourgeois marriages, it is assumed that any fool can run a house. It matters very little whether a fool can run a house or not; what does matter from the woman's point of view is that she is given no credit for efficient household management, and that is one reason why she has rebelled. It does not matter whether you are a solicitor, an archbishop, or a burglar, the savor goes out of your profession if it is not publicly esteemed at its true worth. We have heard of celebrated impostors, of celebrated politicians, but who has ever heard of a celebrated housekeeper?
The modern complaint of woman is that the care of the house has divorced her from growing interests, from literature and, what is more important, from the newspaper, partly from music, entirely from politics. It is a purely material question; there are only twenty-four hours in every day, and there are some things one cannot hustle. One can no more hustle the English joint than the decrees of the Supreme Court. Moreover, and this is a collateral fact, an emptiness has formed around woman; while on the one side she was being tempted by the professions that opened to her, by the interests ready to her hand, the old demands of less organized homes were falling away from her. Once upon a time she was a slave; now she is a half-timer, and the taste of liberty that has come to her has made her more intolerant of the old laws than she was in the ancient days of her serfdom. Not much more than seventy years ago it was still the custom in lower middle-class homes for the woman to sew and bake and brew. These occupations were relinquished, for the distribution of labor made it possible to have them better done at a lower cost.
In the 'fifties and the 'sixties the great shops began to grow, stores to rise of the type of Whiteley and Wanamaker. Woman ceased to be industrial, and became commercial; her chief occupation was now shopping, and if she were intelligent and painstaking she could make a better bargain with Jones, in Queen's Road, than with Smith, in Portchester Street. But of late years even that has begun to go; the great stores dominate the retail trade, and now, qualities being equal, there is hardly anything to pick between universal provider Number 1, at one end of the town, and Number 2, equally universal, at the other. Also the stores sell everything; they facilitate purchases; the housekeeper need not go to ten shops, for at a single one she can buy cheese, bicycles, and elephants. That is only an indication of the movement; the time will come, probably within our lifetime, when the great stores of the towns will have crushed the small traders and turned them into branch managers; when all the prices will be alike, all the goods alike; when food will be so graded that it will no longer be worth the housekeeper's while to try and discover a particularly good sirloin--instead she will telephone for seven pounds of quality AF, Number 14,692. Then, having less to do, woman will want to do still less, and the modern rebellion against house and home will find in her restlessness a greater impetus.