46
PARTISAN REVIEW
It
is a platitude that art becomes caviar to the general when
the reality it imitates no longer corresponds even roughly to the
reality recognized by the general. Even then, however, the resent·
ment the common man may feel is silenced by the awe in which
he stands of the patrons of this art. Only when he becomes dissatis–
fied with the social order they administer does he begin to criticize
their culture. Then the plebeian finds courage for the first time to
voice his opinions openly. Every man, from Tammany aldermen
to Austrian house-painters, finds that he is entitled to his opinion.
Most often this resentment towards culture is to be found where the
dissatisfaction with society is a reactionary dissatisfaction which
expresses itself in revivalism and puritanism, and latest of all, in
fascism. Here revolvers and torches begin to be mentioned in the
same breath as culture. In the name of godliness or the blood's
health, in the name of simple ways and solid virtues, the statue–
smashing commences.
IV.
Returning to our Russian peasant for the moment, let us sup·
pose that after he has chosen Repin in preference to Picasso, the
state's educational apparatus comes along and tells him that he is
wrong, that he should have chosen Picasso-and shnws him why.
-It is quite possible for the Soviet state to do this. But things being
as they are in Russia-and everywhere else-the peasant soon finds
that the necessity of working hard all day for his living and the
rude, uncomfortable circumstances in which he lives do not allow
him enough leisure, energy and comfort to train for the enjoyment
of Picasso. This needs, after all, a considerable amount of "con–
ditioning." Superior culture is one of the most artificial of all
human creations, and the peasant finds no "natural" urgency
within himself that will drive him towards Picasso in spite. of all
difficulties. In the end the peasant will go back to kitsch when he
feels like looking at pictures, for he can enjoy kitsch without
effort. The state is helpless in this matter and remains so as long
as the problems of production have not been solved in a socialist
sense. The same holds true, of course, for capitalist countries and
makes all talk of art for the masses there nothing but demagogy.
5
Where today a political regime establishes an official cultural
policy, it is for the sake of demagogy.
If
kitsch is the official ten·
