Alma record. (Alma, Mich.) 1878-1928, 1892-02-05
THE FRENCH SCHOOL.
Art Students Of To-day Spend Too Littis
Time with the Old Masters.

Art Students of To-day Spend Too Iiteis
Time with the Old Masters.
The modern school, with all It's mer.
its, has failed thus far 10 fulfill the
promise of the earlier ages. The springs
of inspiration are exhausted. because
the light of the spirit no longer guides
the imagination in its conception of
forms of beauty. The brilliant tech
niaue which finds so ready applause is
not altogether sound, being 10 great
extent an outgrowth of the prevailing
motives; and even if IL were sound IL
would not suffice to give To the works
of the school value equal to that which
the older art of the country derived
from its higher purpose and expression.
The qualities of the modern school are
not those fundamental ones which
make the art of nation truly great.
A school should not of course, be
judged by any arbitrary standards, and
in the case of this school it is not neces-
sary even TO apply those of foreign de-
velopments. It's own best achievements
in times past furnish, as we see, sulii-
Gent standards. To these it may be
reasonably held, unless we are TO sup
pose that the national genius has radi-
cally changed and become incapable Of
rising TO its former level. If this be not
the case il would seem inconceivable
that the people which in the Middle
Ages invented Gothic architecture
should not, if it would, produce better
art than that for which it is now famous.
In saying that the French school is not
doing itself justice, | do not mean 20
imply that any other existing school is
superior to it. In fact, while much that
is excellent. and in some cases superior
TO the work of the French. is accom-
plished in other countries, there is hard
ly anything elsewhere that can be
called a school. Contemporary painters
almost everywhere are now initiating
the French. The artistic influence of
Paris is practically universal French
paintings go 10 all parts of the world;
and the great Partisan ateliers for stu
dents are crowded with young men of
all nationalities.
The question of the results of this in
fuence is grave one, which may, how
ever, be safely left to the Judgment OF
thoughtful people, when once they take
it fairly into consideration. Asyet such
questions are not enough examined. In
matters Of art, as in matters of fashion.
there is great deal of thoughtlcss ac-
ceptance of whatever comes from Paris.
This question bears not merely upon
the character of contemporary artistic
production, but also upon the IDEAS
now generally inculcated; deter
mining whether they be broad
and liberal or narrow ard
doctrinaire. The doctrinaire element
is considerable in contemporary French
teaching. | once, in Paris, vcntured @
suggest that more study, in the Douvre,
of the works of the l'lorentine and We
netian masters might be useful 20 art
students in general. | was told in re-
ply that the works of these masters
were now considered obsolete. Young
Americans 90 to Paris and readily as
simulate the ideas, aims and methods in
vogue: while they fail to gain any serV-
iceable knowledge Of the great works.
of the older art preserved there. access
to which constitutes the chief advau-
tage Of going abroad. If thorough
practice in drawing and painting from
the living model be all that is
wanted it is waste Of time
and money to cross the Atlantcl
What is valuable in the Partisan did
pine might just as well be laid in NJ
York and Boston. Models may be foun
anywhere, and it needs only the same
persistent practice, under such guidance
and criticism as many men in every
community of art students are com
petent to afford, to insure results as
good as may be reached abroad. But
that discipline of the artistic sense
which study of great masterpieces af-
fords can not be had in America, and
is not acquired by the majority of stu
dents who go to Paris, because il is
not appreciated by the contemporary
painters and those who direct instruc-
ton there.
1t is not to be regretted that studenh
and amateurs at home find so little help
toward suitable preparation for foreign
study OF the large numbers of youths
who go annually from all parts of this
country TO pursue courses in fine arts in
Paris, the greater part have small con-
ception of their meaning. They are
without that preliminary knowledge
which should give them basis of judg-
ment as to what may be most profita-
bly, studied in Europe. In the Parisiaa
school they meet with few enlightening
and broadening influences. Nearly
everything beyond the range and rou-
tine of the uniform technical drill is ig-
nored.-Prof. Charles II. Moore, in At
lantic,
Looking Toward the sunset.
The world has always treated me