New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-11-10
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WHAT ARE AMERICANS DOING IN ARTP
MODIFYING A RECENT ANSWER TO THE oUE:-
TON.

MODIFYING RECENT ANSWER TO THE oUE:-
TIoN.
TO the Editor Of The Tribune.
Sir In the current number of The Century, Mr..
F. ID. Met. vlcepresdent of the Academy OF Design.
propounds and attempts 10 the question what
Are Americans Doing in Art ~ lie states, with
touch OF spreadeaglesm. that what we have done In
art and for art during the last quarter Of century
Is unparalleled in the history Of nations and that
we have made more rapid progress in art than any
other people In the worlds history" But he con-
fesses that ave still in that stage of artistic de-
velopment In which the highest requirement Is ability
to execute with distinguished skill In the methods OF
Others and that individuality, the last goal In art,
has not yet been reached by American painters. con-
sidered as body. The explanation Of this lamentable
condition Of things he finds, first In the youth OF the
country but then, very curousy In the necessity TO
which he says most Of artists driven OF teach
ing In elementary schools lie delares that the artists
TO whom the present hopeful stage Of progress
In our art have spent Of the best years OF their
lives In teaching the rudmeuts OF their profession,
and implies that this has "dss,pated their powers
and exhausted their energy" At which IN expression
Of surprise is certainly permissible
In the first place Mr.. 1let Is wrong 10 his facts
His acquaintance among experienced artists 10 New
fork-that Is to say In Americas art centre-must Be
extensive. But how many OF these artists can no
rightfully claim occupied and so hsrried by
teaching that they cannot work out their own destnes
In their own way and in their own timei Very few.
The art schools Of New York, and there are not so
many OF them after ALL engage the services OF good
number OF our best men. but only for limited time
during season OF six seven months. Tho summer.
which In these days OF outdoor work Is the harvest
time OF artists, leaves them free every hour Of
the day. Mr. Mlet is correct III making distinction
between the instruction given by Continental artists Ut
established reputation to advanced pupils and that
given by men in undeveloped state to pupils still
cruder In the one the teacher receives sug-
gesuons himself, in the other he receives nothing.
But Mr.. Aet lays too much stress upon the value OF
stimulus from outside Inspiration from within.
and while poverty and public Indifference CALLING
to an artist, and have unquestonsbly spoiled some
careers, they have rarely kept down the soul that
sspired to soar. Mr. Millet sees a good time coming
when elementary schools will be presided by
class Of artists. presumably out OF the who.
lie politely puts 1t, will be fttei by nature
for the work be themselves at such q stage Of de-
velopment as 10 profit by the experience. Then" he
goes on. with the phenomenal Increase OF culture In
the Great West. with the extraordinarily contagious
spirit Of hberaty among rich with the practical
humiliation OF the distance between the United States
and Europe. then. and not before. shall find
artists free to put forth the best that is IN them.
hanpeed by the sordd considerations which beses
them. and by the hardness Of recognition which is the
most potent factor Of d1scouragement' In short. Mr.
Mllet would to make the progress Of nations
art Synonymous with the Increase Of a nations pros
perity
The argument has been advanced before, and within
limits it is reasonable Encouragement is good
thing for the artist that goes without saying. 1t Is
good for to endOw institutions with funds to be
devoted 20 the purchase Of pictures and statuary a.
Mr. Carnegie has done, 10 Mr.. Milbets huge sasfac-
ton, at Pttsburg. That furnishes legitimate and
desirable stimulus. So do schoarships-such those
to which The Tribune has recently called attention
But there was never more pernicous nonsense talked
than this about waiting for wave of prosperity to
enconraee the free play Of Individuality and TO- foster
the development Of style. Have Mr.. Abbot Thayer,
Mr.. wiDslow Homer, Mr.. T. W. Dewing. Mr.. Augustus
st. Gaudens, Nr. Z. A. Abbey Mr. John Lafarge-have
any OF artists who have Individuality or style
waited for Carnegie endowments or for any other mode
Of adventious recognition 10 fan their enthusiasm to
the point Of effort and performance Without an cx
cepton they have developed year by the lines
laid down by themselves in the beginning and IL IS
cheerful proof OF the assertion that the artist makes
the public rather than that the public makes the
artist, Mr.. Mlllct would seem to hold, that tn tho
main they have got very we'll indeed. Respectfully,
New York, Nov. o, 1891. X. Y. z.