Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-11-10
MISAPPLIEB ART TERMS.

The Respective Value of Realism and Con-
ventionaIity Defined = Two Opposing
Qualities Which Govern the True Ar-
tist-News From the Studios.
Realism" and "conventionality" in art
are terms frequently heard, but much more
seldom understood. By this statement it is
not meant to imply that the majority Of
those who use the words are ignorant Of
their definition. Doubtless most persons
who make free use of the terms, could give
a fairly lucid explanation of their meaning
in ordinary acceptation and common usage,
but comparatively few possess anything like
clear perception of their meaning as so
frequently used in matters pertaining to art,
and fewer still thoroughly understand why the
very opposite qualities which they describe
should exist, and both be so highly valued al
though the exact opposite of each other. Real
ism, as will readily be understood from its ordi-
nary definition. refers to that class of work
in which the imitation is invested as COM
pletely as possible with the attributes and
characteristics of the reality, and in strict
sense, its highest aim is to produce work that
will deceive the eye. And this is what many
persons suppose to be the chief object of all
initiative art; it is, in fact one of the greatest
q
on the other hand. means an adaptation of the
natural to an expression of the ideal. 1t deals
with both color and form, but more particularly
with the latter, and 1t produces an effect that
is not wholly imaginary-as indeed nothing
ever canbe, for man can no more create form
than he can create matJer-Since it is
based on natures truth, but it is idealiZed,
or one might say humanzed, and brought
into harmony with human thought and
feeling, and at the same time made
to fill place in the everyday course of human
life. And herein lies the solution of the prob
lem as to what constitutes the value Of conven-
tionalized art; it adapts itself to its surround
ings and thereby becomes part of our very ex-
istence. Conventionalized art is decorative art,
and no art is truly decorative that is not con-
ventiOnalized; and since the products of
decorative art confront US at every turn Its i'm
portanee can scarcely be Overestimated.
Throughout the abodes in which we live, and in
every article which enters into their furnish
ment. some idea of art must find expression,
and as this expression is right or wrong, so
must its influence be felt for good or EVIL.
When products of human labor are to be deco
rated, 1t is essential that the designs should be
idealized or, as observed above, human
lied. To decorate vase or jar
with realistic representation of flow
ers and butterflies destroys its character
as material product, and carries the imagina-
tion into the regions of flowers and butterflies.
But if the designs be dellcately conventional
lied we have an ideally beautiful production in
which all its features harmonic. Again, if we
paint awall with too realistic representation
OF a battle or landscape, the sense of
stability with which the wall itself impresses us
is destroyed and our minds revert too strongly
to the scene of the conflict or the charms Of
nature. In art which deals with pictures
painted for themselves alone, and intended to
be isolated from their surroundings by suitable
frames, the quality of realism comes into full
play, but even here it is not universally and at
all times desirable, and it must often give
place to poetry and artistic feeling. If it were
ever possible to reuder with strict truthful
ness all the. minuteness Of detail, and
mystery and intricacy of nature,
such realism would not then be incompatible
with poetry and feeling but since the means of
art are SO greatly inadequate to its ends and
the painter must ever be willing to sacrifice
some part Of the truth in order that he may
the more fully express the remainder, realism
must often be subordinated to qualities that
for the time being are of greater Importance