New-York tribune., 1891-03-08
BOSTON ART TOPICS.
MR.. FENOLOSA AND THE JAPANESE cor.
LECTION.


the result OF the labor OF two men, Mr. Morse and Mr.
Fcnolosa, and is now under the special care of the
latter who has Just returned from long residence in
Japan, where he not only collected the to be
at the Museum but taught the japanese nation TO
love and reverence their art OF the past
The writer met Mr.. Fenolosa at q reception given br
Mrs. Moulton to the Kendas and Mr.. Henry Bacon OF
Paris. All who arc deeply interested in art will find
in Mr. Fenolosa broad thinker, whose thought Is ex.
cecdingly refreshing and interesting. We have too
often regarded japanese art grOtesque and amusing,
but as presented by Mr. Fcnolosa it Is raised in ones
mind into the intellectual and spiritual sphere. In
listening TO the charming conversation OF this student
is brought face TO face with the condition of most
CT our modern art, and realizes that we 90 no deeper
than the surface external representing only what
with the natural eye seldom reaching up into
the poetic realms OF fancy To the japanese, art was
religion there are many pictures left that remind one
OF the carly paintings Of the Christian Church, but
tho works Of the japanese are far superior in quality
and poetic value to those left by Bottacheli Or his
temporaries There is striking similarity In thess
two ideas OF art in the OF the curved lines In the
draperes that carried to much greater state OF
perfection with the japanese than In the Christian art
u The modern public and who called artists
have little conception OF the wonderful developments
in the art of this nation. Where it has not been con.
tamnated BY the Chinese influence it Is OF such beauty
and so poetic in value that we shall draw from such
collections as tho at the Art Museum inspiration
and truth for the modern school In America
one morning the writer found Mr FenOlosa In hh
room surrounded by strange boxes and bundles all
filled with rare books prints. The air was heavy
with the odor Of japanese woods, and as the door
closed on entering the modern world was left behind
and one breathed another atmosphere pregnant with
other thoughts that not strange when seen from
the Japanese point OF view. 1t would be difficult 70
appreciate the works Of the great japanese masters
one carried into this collection his modern Ideals on the
Western ideal OF art one must leave that pehhd ana
try 10 think with Mr. Fenolosa from the japanese
standpoint. Then and only then, VIII De dcVeoped
In the mind the wonderful beauty Of some OF this WORK.
Apa.t from the large collection arranged IN an upper
gallery there is iireprOof room in which are stored
most of the very valuable old screens ana pictures '
have been bought from the temples anu oiu pdiace'
OF Japan. Among the many there was one WIN
qroup of figures passing over bridge tnat was 50
trikngly like our modern work that it was difficult TO
realize that the work had been done nearly 900 years
ago The gold background to these figures was nch
and mellow There was charm OF color about the
whole composition and spirltuai ldeai thdt carrco
one into high artistic sphere.
There was a very DID, black looking picture in a casa
that Mr. Fenoosa took out with great care, as II rep
resonted in gold the God BOdhisattwa, whose love ior
uonkind /, 30 great that. although god hvInS IN
reoIm of et erna bliss he comes down 10 eaf' 10 pear
al tho burdens of life for the good OF the mortal souls
!. i in This representation Of great, loving goo tra'
the Japanese have shown their wonderful arusuc
mowers The painting is 50 old that 1t IS quite dui u
ooe but II closely examined is still rich' both III ne
and color. /: one could call picture painted III pun
gold color ..,,- ,.. .....,. \.
rusic in following the beautiful curved lines OF the
Ir,norv They sweed out into broad curves 10 90
lost behind the figures, returning and gently ipidihs
themselves around the arms. never harsh ana pe'sF
ending. but full Of rhythm and pathetic tehderics'.
There wa, calm serenity about 1t all that por'd'eu
most perfectly the intentions OF this goa o pure e
The more one gazed upon this masterpiece the Stn'see
the impression that have yet not reached IN our
Western ant so high state. We are only natural oN
buman while the japanese art is Spiritual
II s to be lameated that the modern art oi Japan
Is losing this spiritual quality, and Is iast pcconnns
brutal through the influence of the so-caiieu eN'Neu
world. II. NJ
roo,os, hos done for them in his school, that no
established A. Toxic in dinC them bock to what uey
were a. great artists before the destructive ou'sae
Influences struck H. -,
In the large welIchtad gallery at the rear OF 'he
new portion Of the Museum may be lOuUd tnc Lai'
collections Of japanese paintings and pottery Ihey
nre well arranged for study and AFFORD an oppof""'
never before possible In this country 10 DeooAs
,couanted with japanese art of the highest oN'r.
In the long. hallke gallery the more vaiuaois
naiutings are arranged in cases along the wall IHs
modern water colorist will do we'll to study the eheo
roducod bv some Of these old masters and those m
the broad school will be astonshed to ma tl h"ue
~ wears ago the broad school was IN existence d
well as the s0oalcd nniky work OF modern tines'
one NAV study ior hOuIs with profit the handihs "
those nctures OF tigers monkeys and birds. IRey
,re NOT alone perfect in drawing but in color a'No'
and have the added quality of having been
done for the love Of the thing hseh' o'e
| ropdscape was very beautiful with sky lhas
cIowed with wonderful brilliancy. This efect was
producad by rubbing into the silk fine gold po"uer'
at little distance this couh not pe ue'e'''u' W
effect remained .
The Morse collection of pottery is OF great lhe'e'
ore group was pointed out a being the most perie,
harmony OF low-toned color that could DC imdsi"''
Above the pottery are carved wooden panels that arc
as tender representations of flowers AID birds as ''
works In watcrcoor A..
The great room where may be found the sui'S' tna
gildcd shrnes ard the many gold and bronze ori.s'
mcnts also shows the more modern work ana the
decline from the great period Mr.. Fenolo>a sau '"'
there were at present three parties in Japah-tIe so
called progressive European. or dress-suit ana SIN ha
influence the blindly conservative party tIa' "a"
nothing not even the great beauty Of their own ART
and the party of selfdcveopmcnt that was TAXING w
,he problems of day. The character Of the teachhs
I'm the school founded by Mr.. Fenolo~a VIII be TO urn
the Japancse mind back to the really great ana eoO1
in their past history and prevent them as ha'V
from losing sight OF that finer spiritual side when VIA
entirely disappear ii the modern influence I, aoso soS
In becoms loo strong Art was their religion anu
tbroupb II their soul, were lifted up out Of the cohiuo
into sphere Of lovcreSs and poetry OF Thought !"
most immortal III A., roro,os,
said As YOU have taught the japanese to Know uS
history ,f their own AIT | ask you now 10 tei,h IL ~
thc Wcst, No greater recognition could have come ~
faithful student and no more fortnat. lng hsy had
havc hnupeucd TO America than thai II should nave h
for seven wears % student collecting rare GEM %
Japancse art Tor the bcuet Of his fellow cou ini i
Ik..
| add greatly 10 the growth of American art GA
1t would be well 4 one visiting he Museum n,ci ~ II
stonn showing i'm very low relief the head Of Phsfah
| or RAne~,s The mouth is most beautifully reuac.Tj
full of lie like expression. The pose ot ths hen hrJd I
tonder uuoy OF The bas-rcef Is proof OF the speII
dealIty of the early Egyptian sculptor There ai
spiritual quality about this fragment 1nu na Art
abovn The ordinary representation Of the hllnaii
ali down through the ages to have been the en