The Wilmingtonian., 1884-11-15
ADVERTISING RATES,
SATURDAY, NOVEMBER I5. 1854.
THE COST OF ART.

Auhluel hauOnna Ol napnaet lor 9OoV,Uuu
and Van Oyck's equestrian portrait OF
Charles for ss7,5o0. The price is stu
pendous, but tho English may plume them
selves on paying more money than has ever
been given befors for any single work of art.
The writer goes on to say that had Amtrica |
paid that large sum for any one picture the |
statement would be received with the jeers of |
E. gland. The Ansidei, however, is one that |
is not among public collections, copied or
otherwise, therefore has an added value.
Its possession is unique, it is considered
the finest example of the great artist in ex
istence. 1t has long been watched by the
great picture merchants of Engand and the
continent. The curators of the national
galleries of Berlin and Paris were extremely
anxious for it's possession and their represent
tatives were present at the Blenhem sale.
The fact as regards its disposition will be
thought of with qualification not only by
the English people but the whole world and
that is that it has gone into the hands of
natio nal gallery. This means, in other
words, that it will be open to public view al
all times, fact that artists from every
country will have reason always to feel
grateful. In the English galleries, under
certain restrictions, art students are per-
mitte6 to take their easels ard color. boxes
and plant themselves in front of these fine
works of art, and to their hearts content in
vestigate and study to reproduce the won
derful effects of color and light which these
old masters rendered SO exceedingly we'll.
This is the phase OF art education, the
practical one which should apply iii this
country,
At the National Museum in Central Park
we see no young American artist studying
before the splendid exmples of the limner's
art that are so numerous in that already
valuable collection. The permission is not
granted by the authorities. This is ali
wrong. In Paris at the Louvre, at the Ma
3 tional Gallery and elsewhere, in Berlin,
in Dusseldorf, in Munich and throuG Ghout
Italy, picture gallery without its students
is all unusual sight. Here different theory
rules. Pictures are to be looked at only,
not practically studied. The consequence
is that our young aspirants in the direction
Of art flock In hundreds and thousands to
Europe to the art galleries there, at
great expense to themselves, for most artists
are poor, very poor, and the scraping and
savings of years are necessary to enable
them to live and study for perhaps but one
: short twelve months in Europe. 1~ =.
A great deal is said aud theorized In our
American Art journals about the American
ito aafc md 10 ytroA
when shall We have an American school
the answer is that we must get our teacners
first. VINO is to teach usp THIS tho young
attist, his satchel in hand, sitting on his
trunk, labeled Paris or London, asksl He
tells you "oh l am going to study the great
works of art in the European galleries, where
can get in free, sit down without being
tramme!ed in any way, where l am given
every reasonable accommodation, and no
questions asked" This is to certain de-
degree his reply, aud he means to tell you
that he calls those great works of art in
the Euglish and continental galleries his
teachers. 1t may be given in rejo nder that
we, in New Yolk, also have great pic
tue. Tlue, but have you any idea, of your
duty as the stewards, for the nation, of the
you g art growth of this country? You
place your gallery under lock and key
so far as the art student is concerned, you
consider and treat his presence, with hi,
parapherualia of easel and mahl stick, his
color-box and camp-stoOl, az so much
litter! You judge wrongly they represent
the elements in different light, of the ed.
ucational surrounding from which will
eventually grow The opportunity of al
American school of painting. The paint
bespattered easel, the grimy over-dress
the miscellany of litter belonging TO an artisI
must study as his ease, uaturaly:-it is not
put forward necessarily that we should hal
with delight the appear aDce of such pic
ture of personal indifference to habit or dresl
as sume critics love to cite when describing
the personnel of j. NJ. W. Turner-thougl
could we get an American Turner, WI
might tOlerat. the Objectionable toilette
1t should be fully understood that as
rule the young aspirant to art is not over
burlhened with money. The best he can d,
is to make tolorably decent appearance,
all that he il able 10 save outside of tina
must be devoted to the relatively great de
mands of his profession. While studying
he cannot earn, and his probation is usually
unlike that OF other professions, one o
many years continuance, aud much more
precarious.
Let our National Galleries, and also on
private galleries be open to the pracUiea
study of the pictures stored in them by al
art students. Forum .te and wealthy peo
pie WIN own them, in following this cours
will be the first initiators and nOurishers i
the only true and possibly successful
way of an American School of art
The National Gallery at Washington
both branches of art and sculpture, tn
splendid array of pictures at the Nationa
Museum at Central Park, and the privat
galleries such as the LeunOx, might be op
en- on certain days, at least, for the speca
purpose Of enabling artists to study righ
from the original source, the examples o
the finest art of Europe. By this method
system which has been of inc alculable valu
to European art, would act in the same wa
upon conditions that exist here and thereb
phase Of art availability yet unused woult
be made fruitful to the country.
In Memory of wiIIie E. McCauIIey.
Willie E. McCaulley was born July Bis