New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1880-12-26


Academy picture to represent him all through me
future which is unworthy of him, aud hence the
examples from each artist are OF the highest 0rder
of his work. But there IS no place to hang these
pictures Mt present and 80 they are packed IN
boxes and rarely the light. Then there Is also
the Suydam collection of paintings, which was
given to the Academy which includes n number OF
representative works of both American and foreign
art and there are besides many paintings whlch
have been presented by artists ana others ana ihe
fine collection of cngravlngS, photographs, ana Ie
productions already mentioned. There are lew
pieces of sculpture also But excuse me, must 60
into the Lie school tor a few moments now would
you like 10 come al0ngp
THE SCENE IN THE LIFE SCHOOL
Passing between two colossal statues, represent
ing Bacchus and Hercules which seem to guard the
entrance. the reporter 10 nd himself in the Life
roomr n long apartment not remarkably well
lighted, in which large number of young men sat
with their easels ranged in n semi-circle about
nude young OF admirably developed proper
ti0ns, who stood upon n raised platform. posing IN
characteristic attitude. Along the rear OF the
room were shelves upon which are numerous casts
and-strangely out OF place for o Life room "a
detected looking old skeleton which mourncd the
loss of nearly all Of the phalanges Of ts hands and
feet hung IN little triangular closet with the door
opon Several distressed-looung anatomical casts
outside were fitting companions Tor the aneanny
object 4 scmi-clrcle OF shaded ga5-burnerS he
pended from the ceiling and large reflector was
arranged to light up the model at nI2ht. An inGe-
NOUS arrangement OF steam pipes Elld alonE tlS
floor surrounded the the place where the inOdeI
stood, so that while the temperature immediately
about him might be very high, I'm order that ne
need not take cold the remainder OF the room
might be properly ventilated and the temperature
rendered comfortable for the students. After Jhe
Professor had criticised all of the DRAWINGS the re-
porter asked what particular method OF instruction
he employed
teach after the French. or Painters system,
M sad, which, seeing o'cctS IN lShl IN" ai'I.,
represents them they appear rather than a. thty
actually arr. Almost all artists follow lhal System
now the modern Germans having adopted d. RON
the French and Bcgaus some time AGO. Inc ora
Germans, OF whom Cornelius Is ltilr example, Oc-
licNed IN painting real truths instead Ol appear
anccs but that is the method for the sculptor, not
Tor the artist For instance, If y0n look at as
tdnt object, You il in MASSES OF Light and shade
not IN detail; hence, to pant u as You Huo" IT o.
rather than as You would he to paint false
hood. while to paint the appaTent-Which IS dner-
cnt from the actual cOnditloh-W0uld be 10 palhJ
the truth from your POINT OF view.
lint rs to methods of teaching, there can ne no
uniform method for the treatment Of all students.
Treating u dozen men alike Is absolutely rIin0HS IN
art. The great object, IN my view, Is to encourage
what talent there may he IN the lnuINluull ana
make the most OF It, not attempting 10 cu'ii-G vi
warp his nd ,Iduality. but to develop ms CapdhlIy
10 exercise and express 1t. Individuality consider
rs the thing of greatest Importance IN man. bub
the individuality of one man OK necessity d!NriS
from that OF every other man; the instructor lhefc
fore should first uni out the peculldfteS OF tach
student. and instruct him according 10 his ciar-
actcT. Each man has ms own OFElWolnf III oI'
this may bee fine. delicate, ana exceedingly SENSITIVE
and such man will work slowly and carefully Nd
another the nature may bee coarse. hunt, ana IuIl
of brute force. and that man VIII rush over pro-
digiouS amount of ground, IN "a strong manner
maybe, in n surprlsl ugly short time. One must ne
Gentle with the refined naiuIc-seycrity OF crit
cism would discourage and maybe crush II, before,
by exercise. II could attain sufficient Strength 10
Withstand hard knocks. With the cOarser nature
one may pound away; and knock on the Iou4h
cdgcs a. with a great hammer, until the character
is dressed sufficiently TO receive the more refining
iniuences. An excess of delIcacy, without
strength. is useless, and very great strength IL
valuclcss if not tempered by refinement. B0th
clements are necessary to the accomplished artlst'
aud If either element IS weak, 1t should be strength
cned.
{" Again. one man may be able to do in minute
what another cannot do IN an hour. l believe IN
advancing the rapid worker, and IN giving me
other time &c Orttlng To ms thought 90 not ne
lieyc i'm grinding man through mil, but IN leu
ting him work according to his individual organism
and talent Our great object Is to teach the student
think for himself and learn how to interpret nature
as he goes along. tie must learn how 10 ask nature
questions, and also bow TO receive natures
answers One cannot formulate recipe for learn
ing this each man must learn IT IN BIS own way.
The ultimate end before the student is TO learn to
express all the appearances of nature truthinIly.
TO do this. he must learn to see the proportions
that exist i'm things and the relations OF light and
shade. That includes all OF dra wing and added 10
that truth in color comprehends an there Is IN
painting. If "A man has learned these, lie can
render any effect in nature. But beyond that
power comes the creative faculty. land that must
be in the man himself. No Academy car give INN
that We can only assist him by teaching him
how to correct his eye and TO develop quick and
accurate perceptions In regard to the manner of
working or the materials used, care nothing at
all if the end sought for is attained III the best
manner, that Is enough.
All who study art, Of course. cannot become
artists but all Will be made better ape TO ENJOY
both art and nature from the study; they will he
better able to pass Judgment upon the work OF
Others and TO appreciate the rehnementS OF lie III
general. But il is impossible to make just anybody
an artist Artistic capabllity or talent must have
been born in the individual destined to excel in
ant aud it must be cultivated by years OF earnest
study before success can come. 1t IS easy Tor
schools to turn ont educated classes, but great
me-: can never be produced merely by education