Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1888-07-18
WEDNESDAY. July is, 1888.
American Art.

A New York paper, in dep!oring the TACT
that so little encouragement Is extended to
American fine arts, remarks that in France
many second-rate painters have succeeded
in imposing themselves upon the world as
great artists by reason OF the patronage they
have received from Americans. ih.s Is true
not only OF France but Of other European
countries m which there are what may be
termed schools OF art. in the sense that we
sneak 81 the Fl0rentlne school, The 6ermah
school, &C., and that such a condition OF
affairs exists accounts IN large measure
for the state OF art in America. The
greatest drawback to the American artist
indeed the greatest drawback 20 the develop
rpsnt OF n school OF American arts found
IN the American "craze" for foreign art
specimens. We say craze for in many In
stances the art purchases made abroad 10y
our people are dictated by neither reas son
nor taste. II is enough that these purchases
have upon them the signatures OF foreign
artists, albeit they may he the products
OF art.isctories," really run by pupils
in the names OF their masters. 1t follows,
q,
Of art not only contributes to the support oil
mediocre foreign talent at the expense OF
American genius, but frequently causes
American genius to degrade itself by enter
ing the field Of the mechanical and the imita-
tive in both painting and sculpture. Artists
must live, aud they capuot 1--we on inspira-
ton. When American painters and Ulptors
see some Of the daubs and some OF the
tricks Of the chisel that are brought
20 this country from Europe by American art
patrons and learn the prices that were pad
for them the temptation TO initiate foreign
examples is powerful one, aud the blow to
originality and the creative faculty IS serious.
We do not undtrrate the value aud whole
someone's OF the influence OF the foreign
schools, as illustrated in the works OF the
great European artists. and while advocating
school Of American art we still recognize
that art is universal. But we clam that the
development Of American art demands that
The influence of foreign schools should only
operate within certain bounds-within the
bounds prescribed by the kinshlp Of all art
and that 1t would be confined 10 these bounds
II less foreign trash were brought to this
country, and consequently greater stlmu-
liant given to the American creative faculty.
NuIAIs, the distinguished English painter,
Is reported as having said recently that cit
l. age and varnish that have made the old
masters great" and that the best art OF
modern times is as good "a any that
has gone before. MTLLAIs will probably
discover that the world Is no better
prepared 10 accept Gage and yarnish" rs
substitute for genius and inspiration than
il was 10 follow him and RUsKlN when they
were carried away by prersphaelitism. This
latter heresy was 4 heresy Of MlLLAIs's
youth. and he repented. We hope for the
sake Of his reputation he will retract bis
cage and varnish" dictum. However, it
must be admitted that there are great artists
living to-day, and that IN a sense the
sphere Of art is broader than II
was in the time Of the "Old Masters"
Ii must be admitted that the possibilities
OF art are constantly increasing. Nowhere
are these possibilities greater than in Aneri-
ca, and il IS reflection upon our refinement,
our civilization, and our culture that we do
no, recognize this fact by extending such
patronage to American artists OF merit as
viii insure the establishment OF q school
OF American art. Let us by all means Sc
cure II we can the grandest works OF art
that are executed abroad, but let us at the
same time encourage American artists to eX-
eel these II possible. In word, let us
stimulate American genius and originality,
to The end that they may make distinct i'm
preston upon the art world.