Eystein had also resorted to a weird form of trickery: among his decorations of wood or wool, gold or velvet, he would insert one which was really made of the material elsewhere imitated by paint. This device which was apparently meant to enhance the effect of his tactile and tonal values had, however, something ignoble about it and disclosed not only an essential flaw in Eystein's talent, but the basic fact that "reality" is neither the subject nor the object of true art which creates its own special reality having nothing to do with the average "reality" perceived by the communal eye.
Eystein's artistic approach involved an unusual form of deception, where he would incorporate fake elements into his decorations, mimicking materials like wood, gold, or velvet using mere paint. This technique, intended to enhance the sensory experience of his art, revealed a fundamental weakness in Eystein's abilities. It raised questions about authenticity in art and undermined the genuine craftsmanship that should characterize true artistic expression.
Nabokov suggests that Eystein's work illustrates a crucial distinction: authentic art transcends the average perception of reality. Instead of merely reflecting communal views, true art creates its own unique reality, independent from the everyday experiences of society. This commentary implies that effective artistry lies in its capacity to forge new realms, moving beyond mere imitation toward a deeper, more transformative engagement with the world.
