Evening star. [volume] (Washington, D.C.) 1854-1972, 1882-03-18
GOOD EVEN OUT OF FASHION AND FOLLY.

hays, us ehtouofogiCai luOssHCIdSies. It's tHou-
sand inanities; let us accept even this. and be
glad. for it is opening the way. People begin to
think of art, and art. like all other matters of
serious import. will be set right if people are
once disposed to give it a prominent place in
their thoughts. The household that breaks out
In embroideries and ceramic decorations is likely
after time, TO feel a higher need. The en-
broiderles and decorations may become more
and more Indicative of the artistic spirit: may
express after awhile real regard for the beau
tiful instead Of an aimless caprice of fashion.
When the public really desires to know some
thing OF the scores of true art it will be re-
veaied In a thousand ways. But without that
humility that is begot Of longing, art must, to a
considerable degree, at least, remain sealed
book to the general mind 1t is SO apparently
matter Of the senses that the average person
resents the imputatIon that he may not know its
secrets as well as the artist or connoisseur.
THE REAL AIM OF ART
is misapprehended; it's limitations are not re-
cognized; consequently, it is tried by false
standards. Good painting, for instance. is not
what it is SO commonly believed to be, an at
tempt at the direct imitation of nature,-its mir
rored reflection. 1t is a language. by which the
painter essays to express natures thought. You
cannot translate a poem from one language into
another in an absolutely literal way, word for
word, without losing the real charm Of its
produce in our minds thoughts or Impressions
similar to those which were in the mind of the
original poet, whose speech is not at all likely to
run parallel to ours.
Art is an inadequate language full of COM
promises, of cOmpensatiOnS, and knowledge of
its limitations is essential to an understanding
OF its aims and acts. Where the sumptuOus
academy building is the expression of real
love OF art and a longing for It's ministratiOns.
we may confidently dedicate it to the service for
ia afl6 No ka ylri 10 In hos
splendid structures that have sprung up in so
short a time throughout the land. In worldly
sense they give Importance In the general mind
TO the art idea. But we must keep in mind the
fact that as educational institutions their value
Will consist rather in the influences that will go
out from their working rooms or galleries than
from any possible external splendor. A building
bare as country barn, with good light and
models, and intelligent instructors Is better
than palace with corps of inert and incapable
professors. 1t is sometimes the case that the
fine building exhausts available resources, and
the magnifcently equipped school languishes for
the lack of able professional direction and in
StructiOn.
LURKING DANGER.
lack the time to discuss the details of this
question at any length l wish. however, to
call your attention briefly to certain tendencies
in art study that seem to me pernicous and dam
gerous. / have spoken of the American as an
apt art student. We exhibit great amount of
cleverness in this direction up to the point to
which the first flash of enthusiasm carries us.
am not so sure we possess in an eminent degree
what suppose the turf men would call staying
qualities" Like the lion who misses his prey at
the first spring. we lose heart and turn back to
await other opportunities To be sure, under
certain influences when enthusiasm is elimi-
mated by slow mechanical methods, we may plOd
with reasonable degree of persistence through
tedious and unfruitful processes of training But
short road to success is the dream Of the aver
age American; to get rich or famous without
waiting for the slow ebb and flow of the tides
to strike bonanza of wealth or reputation.
We are impatient Of processes. As have indi-
Gated, true culture is Of slow growth. weak
or missing link in a mans training incapacitates
him to greater or less extent.
THE NEED OF STUDY.
The art student who puts the Ialet on his
thumb before that thumb is grimed by the dust
of charcoal. who evades the beginnings of his
art because of the superior attractions Of later
processes, is building his hopes On the sand.
do not affirm that the academy routine the rigid
formula of the schools, is vital necessity to the
man OF genius; but methods and systems are
for the average man. Genius tranScendS law or
rather. is governed by higher laws than we can
readily understand or formulate
THE TRUE SYSTEM.
system of art education should not. how
ever, be too rigid. Put men of brain at the head
of your art schools and academies; men who
may be trusted, with a reasonably flexible adap-
tive system. All students should not be
forced into a common mOld--the duh with the
brilliant, the swift with the slow Some things
We may consider pretty Well settled by the gen
eral art experience. and no latitude should be
allowed that would infringe upon universally
recognized law. There is no royal road to sue
cess in art. The artist must draw: He must
learn the grammar Of his art. Methods differ
but principles remain the same and Paris Mu-
Mich, and London agree that the student must
study form before color. Just now in America
we are in stage Of unrest as regards our
practice of art We lack conyictions-we ex-
pertinent To be sure, there are ardent disciples
of this art creed or that, but we lack the Sc
renity of assured aims.
In indicating the danger the student is in, of
falling into loose and insufficient ways of study
do not lose sight Of the danger that turks in
the opposite extreme,-the pedantic, dry-as-
dust, geometry-ridden, methods that have
already referred to. They fill a student with
certain tOrpOr or inertia. with sort of dry-rot
of passveness. Such methods have been and
still are in vogue in certain places. But they
are rapidly giving way to different and better
ways of study. Sometimes the reaction is over
violent. In setting aside old laws we may eX-
pect license to rule for awhile, but the better
law will finally prevail, and we must patiently
await its gradual development.
TOO MUCH COPYING.
There is also large class of art students who
cam OF or will not make use of the advantages
Of regular school training They are beset by
innumerable dangers, of which, perhaps, the
great rity-certanly Of those who through
choice forego school advantages-are serenely
unconscious. Young men and women without
previous study or practice Of either drawing or
painting, in any legitimate sense, are contiD-
ually crOwding into the galleries of paintings to
copy the works displayed on their walls
automatically matching tints with as little con-
sderation for the reason Of their uxtaposition as
is exhibited by the Kindergarten child who
counts the canvass squares for it's threads of
Berlin wool. The one is abOlt as advantageous
as the other as an element in art training
Copying is only productive of good when it is
inte'ligently pursued-when the student aims
to discover the secrets of the painters art,
noting results and questioning means. The
worst thing about this aimless copying is the
delusion that is apt to engender in the mind of
the person who INDUCES in it, Producing a
painting that to partial and discriminating
friends, apparently rivals the original picture
copysts are apt to conclude that the practice of
art is pretty easy matter and to feel that they
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