Evening star. [volume] (Washington, D.C.) 1854-1972, 1882-03-18
AET EDUCATION.

weeks since. The attention turned to its subject
by the presence OF Mr.. Oscar Wilde in the city
about that time seemed to give timely pertinence
to the essay: but there is enough in it to justify
careful reading and thoughtful consideration of
the matter at any time and under almost any cir
cumstances.-ED STAR.l
THE TENDENCIES OF THE TINES.
If one were to judge by superficial indications.
1t might be concluded that we are in the midst
of very millennium of art. There has been
awakened, largely. no doubt, by the exhibitions
Of the centennial year, what seems at first
thought to be genuine interest in art matters.
The word Art has become household word. 1t
Is prominently displayed In the columns of news
papers and periodicals. There are journals es-
pecially devoted to art interests. There are art
galleries in country hamlets. There are art
hangings, and art furniture and embrOideries
and notions OF every kind luxurious and other
wise, on every hand. A new picture in a win
dow attracts crowd. The gallery of paintings
is the popular resort. The painters pallet and
the easel as symbols, suppose. of this univer
sal art agitation, have become part of deco
rative scheme in innumerable homes. Art is, in
snort, fashion. How much more than that it
may be l cannot so readily decide. Fashion inn
plies more or less blind following. 1 think q
general curiosity has been aroused, and that
this feverish agitation Of the art idea or notion
art.
THE AMERICAN IN ART.
In my opinion the American temperament is
an artistic one The American art student holds
his own with the best. Whether he can hold
out with the best is in the main yet to be proven
He is quick to apprehend mastering the open
secrets Of his profession with great readiness;
but the best, the truest secrets that art holds
are not such as those who run may read. The
master in any calling is patient, persistent I'M
firing. Genius may illuminate the path his feet
must tread, making it an easier and safer way,
but it cannot absolve him from the necessity Of
walking therein.
GIFT AND LABOR.
According to a very common notion the artist
produces the statue or picture by virtue of a
gift of the cradle,-a sort Of birth-endowment
that makes his inger-tips tingle with the
capacity to draw or to model. A natural apti-
tude is as necessary in the case of an artist as in
that OF the lawyer, scientist or engineer No
more, no less. A mans mind may be narrowed
down to close range of ideas in art, exactly as
it may be in law. science. or mechanics. suf-
fciently wide range of faculties would enable
one mind to comprehend all.
With art fashion, superficial requirements
will receive the favor that would not be granted
them under better conditions. Ceverness and
audacIty may easily satisfy the demands of
fashion. but when the art notion gives place to
the art idea when the fancy becomes convic-
ti0n when art. indeed, receives real and honest
recognition, the art worker must master his
profession to gain the plaudits of an apprecia-
tive and discriminatiye public. There are album
dant reasons for assuming that the American
publc Is neither very appreciative nor very dis
eliminating. OF course there are individual
exceptions. 1 might. indeed in a limited sense
except certain communities; but at the best
there is much to learn.
SLOW AND SURE.
The art education of a nation or of a COM
munity, as of any individual, must of necessity
be slow. Art galleries. if judiciously filed, ex-
ercise beneficial influence on the general
mind, and excite in the art student that spirit
OF emulation which is 80 strong an incentive to
human action. There must be first the desire,
or still better, the cOnviction--the 81. too, am
painter" of an awakened mind. The creative
impulse must be aroused. 1t is contact with
other Minds that gives impetus to our own.
But culture. like the century plant. is of slow
growth and late bloom. From the crude ESSAYS
OF primitive people to the splendid triumphs
OF the great masters there is long period of
gradual development If each generation stood
on the verge of forgotten past, the record of
its deeds would be Of little worth. 1t must take
up the uncOmpleted task of the generations it
succeeds and complete it if it can, or carry it
least little farther on Art to-day is dual
OF possibilities; to the past with its wealth of
experience.
THE ART ERAs OF THE WORLD
Art has eliminated or attained to its perfect
bloom at two great periods, to which we now
turn for instruction and inspiration-the perfect
white flower of Greece, the rich and varied
bloom Of Italy. Spain, and the Netherlands. To-
day in the schools of the world the student sits
at the feet Of the old Greeks. and in the studios
OF the great art centers the painters most dar-
ing aspiration is to emulate the old masters of
the Dutch, Spanish or Italian schools. These
Old painters mastered the painters craft They
perfected the language of art Ideas. creeds
and PHILOSOPHERS have changed; the current of
thought has set in other ways. Our aspirations
our faiths. the few we have, are not theirs
But the old speech serves us STILL and we study
the grammar of our art Of these men. I am in
clined to think the art of our future is to be
more influenced by that of the Netherlands and
Spain, than by that of the Italian school, that
it will be based less upon creeds and phiIoso-
phles that are transit0ry and more upon that
humanity which is universal and enduring We
may turn to Florence or Rome to learn the
amenities of art-if l may be allowed the ex-
pression-its fine manners; but we look upon
man and nature more as did the lOw-land paint
erS and the masters of Spain.
FALSE LIGHTS.
At any rate that seems to be the tendency
now in the schools that are making the most
impression upon American students, namely,
those of Munich and of Paris There is one thing
concerning the impress Of these two schools
upon American art that ieeyes something of
disquiet in my mind. 1t would seem as If the
American student were apt to take things too
easily for granted. The clever technique OF the
studios fascinates him. and. being of a quick and
initiative turn of mind, he is apt to catch the
tricks of the brush and the slang of the studios
with equal facility and want of thought He is
constantly In danger Of considering the means
as the end This Is especially true of the student
who spends limited time abroad No one
questions the magnificent advantages Of the
foreign schools; but / do venture to question
the wisdom of brief use Of them Unless
student can complete course of study abroad
or at least remain there long enough to over
come the glamour Of new and dazzling condi-
lions. long enough for his MIND to become ac-
custOmed to surface scintillations that are
liable to blind his vision and bewilder his judy-
ment. he would better make nse of such adj
vantages as may be commanded in his own
land. until with a more mature mind and srrer
hand he can seek abroad that which is essential
to his artistic advancement and not be over
powered by innumerable influences that are for
eign to his personal needs-that will not ad-
vance his aims.