"Every day. I couldn't be happy if I didn't see him every day.
He is absolutely necessary to me."
"How extraordinary! I thought you would never care for anything
but your art."
"He is all my art to me now," said the painter gravely.
"I sometimes think, Harry, that there are only two eras of any
importance in the world's history. The first is the appearance
of a new medium for art, and the second is the appearance
of a new personality for art also. What the invention
of oil-painting was to the Venetians, the face of Antinous
was to late Greek sculpture, and the face of Dorian Gray will
some day be to me. It is not merely that I paint from him,
draw from him, sketch from him. Of course, I have done all that.
But he is much more to me than a model or a sitter.
I won't tell you that I am dissatisfied with what I have done
of him, or that his beauty is such that art cannot express it.
There is nothing that art cannot express, and I know that
the work I have done, since I met Dorian Gray, is good work,
is the best work of my life. But in some curious way--I wonder
will you understand me?--his personality has suggested to me
an entirely new manner in art, an entirely new mode of style.
I see things differently, I think of them differently.
I can now recreate life in a way that was hidden from me before.
'A dream of form in days of thought'--who is it who says that?
I forget; but it is what Dorian Gray has been to me.
The merely visible presence of this lad--for he seems to me
little more than a lad, though he is really over twenty--
his merely visible presence--ah! I wonder can you realize
all that that means? Unconsciously he defines for me
the lines of a fresh school, a school that is to have in it
all the passion of the romantic spirit, all the perfection
of the spirit that is Greek. The harmony of soul and body--
how much that is! We in our madness have separated the two,
and have invented a realism that is vulgar, an ideality that
is void. Harry! if you only knew what Dorian Gray is to me!
You remember that landscape of mine, for which Agnew offered
me such a huge price but which I would not part with?
It is one of the best things I have ever done. And why
is it so? Because, while I was painting it, Dorian Gray sat
beside me. Some subtle influence passed from him to me,
and for the first time in my life I saw in the plain
woodland the wonder I had always looked for and always
missed."
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