New-York tribune., 1886-05-05
REALISM AND IMPRESSIONISM
ADDRESS AND DISCUSSION BEFORE THE NINETEENTH
CENTURY CLUB

ADDRESS AND DISCUSSION BEFORE THE NINETEENTH
CENTURY CLUB.
The rooms of the American Art Association
at No East Twenty third st. were well filed last
evening by members OF the Nineteenth Century Club
and friends who had gathered to hear an address
by +. Hopkinson smith on Realism and fmpressionsn
in Art" In Introducing the speaker Conrtlandt
Palmer, the president Of the club announced that ii
was possible that the society would have to
elcct another president. Later in the evening he ex-
planned that he liked his position 50 well that he ad no
intention of resigning if lie could help it. His health
however rendered a visit to Europe necessary, and
he felt much improved he should not be a6e to
return IN the fall.
Mr smith then read his paper, the reading being
frequently interrupted by bursts OF applause. lie sad
that the public were concerned with the OF
artists expression but only with what he had to
express. He con pared technique p handwriting. and
said an authors handwriting OF 10 moment com
pared with what he rad to tell his readers 60 with a
painter he conveyed valuable idea he had done good
work no matter how he touched the canvas. Extreme
realism might be called the putting of too many words
in sentence; extreme imprcssonism the putting of too
few To tie Ruskin student spade was space 10 be
panied with all the nails, the grain and splits in the
wood aud II it IOssibe the brand on the other side
OF the blade. But to Met 81 aie was not spade at
all. II only dark mass against twilight SKY.
symbol OF labor 10 be used as word IN sentence lie
then drew parallel between the lmIessionist ana the
realist-the seeing landscape through railway
tunnel and painting this; the other stopping the
train and back make that the trees
spruce and fir and the rocks ss-grOwn and mt
latter like cOnOclast had broken MS idol
and sacrificed divine Impression TO human realism lie
then turned figure painters and discussed Nbert as
realIst and unsatisfactory. and Miet as Impressions
list and lastngly satisfactory. the Mlssionary's
story of ViDert like "a finely eDameled artistic
watch with the main spring broken perfect in it way,
but tie hands showed o'clock for forty years Ebert
monop Ozed conversation and left nothing for the
Mlic took the spectator into his
confidence amt invited his In return.
school and his kindly received. lt was LETT
for W. A. Collin, young New-iork artist, to win che
nonors OF me evening as far applause AMI laughter
went. fp said he didn't understand how mpresSlOnlsn
and realism could lie viewed rival schools IT was Ike
a discussion poetry and common sense. Mr.. smith
had given dab at each and left him at least wiser in
tie end. thought Mr.. smith all wro:g.
Laughter Ire had called students OF Riskin realiss.
That was tue widest idea lie had ever heard expressed
Ruskn haphaelite. not reallst lie did not
believe in representing realism by indifferent painter
like Viber who the first lace was not rcat ut all
II the realst hated anything II was a story teller
Laughter and Niberts pictures always told story
AMI realis(s he thought were both going
i'm The same direction. n the dealist thoy both
abhorIed He instanced Daubgny as real realist he
old canal boat pniue what he saw Inero
was no car window business about him. Loud
laughter Finally the SPEAKER considered tue prospects
the young school and thought that America
would get from them original, realistic, poetic and
hOness The discussion was closed by Clarence
Cook.
President Porter would discuss Ey olutonIts pros and
cons and would te answered by Professor Martu, OF
Johns Hopkins University, and Professor Morse, OF the
Peabody Aca denny OF Sciences, OF Saen Mass.