New-York tribune., 1874-11-07
TIE ARTIST AND ART CRITIC.

PROF JoHNF. wIER's OPENING LECTURE AT THE YALE
ART sCHooL-THE THREE ARTS OF DEsIGN-rHE
IRREGULARITIES OF THE ART OF PAINTING-HoW
GREAT PAINTERS WORKED.
lFROM OCCASIONAL CORRESPONDENT OF THE TRIBUNE.l
NEW-HAvEN, Nov. 4-This evening Prof.
Ohu f. of the Yale School of the Fine Arts opened
the Fall series of lectures "Tne Arts of Design,
Painting, Sculpture and Architecture" by an address,
partly introductory its nature and partly explanatory
of the technical processes OF the painter in his work
large and cultured audience crowded the South
Gallery of the Art Building. In which the lectures are
delivered forecasting brilliant success on the series so
successfully begun.
The lecturer prefaced his remarks by stating the
ure of the course undertaken. which to be an
planaon Of the aims and methods of the artist whether
as painter sculptor architect These lectures were
given in connection with the school, because its mission
was to furnish instruction in art and art criticism AS
vet the department had but begun its work. but the
Professor hoped at distant day to see the chairs of
sculpture aud architecture filed and particular atten
tion given the literature and history of art. This lit
erature and criticism must follow and be grounded upon
thorough ledge OF the echnicales Of the profess
sion. The competent art critic requires as solid pre-
vous study and knowledge OF this department. OF hui
man thought lust as he who would wish TO be author
ity IN science theology must acquaint himself with
their techncaites. No writer OF all work
can pass correct judgment the artists
composition. Such work has combined two
distinct processes each requiring study to apprehend
and employ; first, the analysis of nature second the
syI hetic union in original composition OF these ele-
ments No outsider can understand describe prop
erly either of these operations. The good critic there
fore must be himself true artist. Even such great
writer's as essng Byron look at piece OF sculpture
from the literary and intellectual side predominatey
and fail 10 perceive do the artist and his brother
artists As therefore, the of most critics spring
from their ignorance Of the echnicates and practice
OF art we hope graduate not only artists but compe
tent art critics. by insisting thorough drill In the pro-
cesses of the studio.
What are these arts OF design which strive to
teach They may be expressed by the media employed
color form and proportion As these elements pre-
dominate we have painting sculpture, and architecture
In the named department. color and form are entirely
tion at least when lavish and obtrusive is a bemsh
So sculpture the tendency TO be picturesque IN tne
forms or 10 paint, glass and other substances TO
make the statue imitation OF the actual thing
represented marks era Of degradation These dyers
tee. however, rest upon a common fOundatlOn; tney
are all OF design This fundamental element plays
less conspicuous part pernrs m a. IN 6er e we'll
But the painter must be much more than the designer
And thus Raphael and Michael Angelo, th0ugh pre-
eminent i'll design, cannot, Ms painters, rak WIN % sue
colorists Titan aud Correggo tresco painting must
strict himself to mineral pigments and must apply his
colors hastily before the plaster hardens.
OF these three arts, then, painting Is the consuina
color light and shade, whlch csn De 50 ulsposed ana
nfpa ou
flat the painter aims TO deceive the observer we 90
not call his art initiative in the sense OF mimic by MS
technicanties he aims to initiate creative power, not
partcuar things Here Is seen the twOlOd character
~ his studies nrst the skul analysis OF nature the
enumeration of the essential values OF an object mat
"a those values which necessary Tor ltS expression,
and the rejection OF IncOnsequental detal ana theh
the independent synthess the composition OF thesc ee
ments into original combination, true TO nature whe
not "a mere copy .----..-- 4, .,,.
This composon. this completion OF conception, Is the
test of worth The work OF giving expression
IN tie thought deXterous hand is Inferior how
evar admirable itself The remainder or the lecture
was therefore devoted TO exhibition OF the rst rude
sketches OF old masters from which were aftefward
elaborated their great works. These sketches, photo
oranhed from the valuable set OF Braums autotypes Ill
The nossess on OF the school, thrown on large
screen and more less freely explained Dy the FRO
Sessor AZ they we're SUCCESSFULLY shown Particular at
tenion was paid 10 Raphaers Holy Family aud Trans
AgnratoD Da Vlnci's Last Supper and Michael Angeles
school of Athens. The lecture concluded wltn Few
remarks on the Venetian coorng Or course the auto
tvnes could represent only the ehsaoseuro OF these
etres by no copy could the colors OF the originals DC
brought 10 U.s. We must 20 To theul
In accordance with closing INVITATION 10 tnosc vi
the audience who chose remain In the galleries ana
examine the Braun collection and she other treasures
OF the school, many spent pleasant haif-hour eAamn-
ing the pictures aud cOnversDg on art topics In the
studio of Prof Eiemeyer 10 DE seen hne portrait
OF ex-President Woolsey which the painter IS putting
the finishing touches The officers OF the department
appear quite enthusiastic and sangulne win REGARD 10
the prospects OF the school, AT present there are ~
students III systemate attendance two having applied
only To-Day Inc Faculty hope soon TO NIL the vacant
chairs OF scupure and Agriculture, and to provide Tor
gratutous INSTRUCTION. subject TO strict competitive
exaIulpaIiQns'