Morning journal and courier., 1892-02-17
THE MECHANICS, COURSE.

kfOk088Of W GIT OI tue d1c AES SCAOOA
 Lectures on ssA Student in Art''-
 Illustrated by the Magic Lantern.
 Professor John F. Weir, director and professor of painting and design in the Yale art school, delivered the second lecture in the mechanics' course last evening on l the subject "A Student in Art" There l was 8 large audience present and the leo l ture seemed to be thoroughly enjoyed. It was illustrated by the stereopticon during the progress of the lecture, bringing out some important ideas in connection with the development of the art student. In the course of his address he said:
 Modern specialism has so narrowed general pursuits that the area of the phil osopher is also narrowed and thrust in the background. If you ask specialist some question on general knowledge he is en- tirely st sea, whereas if you question him on the subject of his special study he will astound you with his I learning. In brief, he does not believe | in spending much time in the open coun- l try. His methods resemble an artesian | we'll in the depth of his investigation. And specialism with all it's narrowing in- l fuence has become dominant in art It was not so in the middle ages, when it was | the custom for one man to practice several | arta. But we are on the eve of @ reaction which is very near at hand. For the opin- ! ion is gaining ground that specialism is a hindrance to the best and highest develop | ment of art. Even now the sculptor is | seen taking up the brush of the painter or the etching needle. History shows that while art showed itself as means of ex- | Joo T are three methods in the study of art: First, making use of that which is neces- | sary for the development of the student;
 second, discipline, or thorough course of training in the grammar of art; third, the l amalgamation of the two methods, making use of the best points in both systems, and this is the method of practice at the Yale art school.
 The first method aims to have special end in view, the second aims to the mas
 tery of the subject by the set collection of
 rules laid down in books; beginning with
 the academic system it ends with the indi- l vidual. Genius is rare in all occupations of life. And there have been artists of | great note who never subjected themselves
 to course of academy training. But the
 influence of genius is predominant, for it
 is not the product of any school or any
 training, whatever, but is the founder and
 originator of schools. It is necessary to
 the requirement of art, but education must go with it.
 Discipline is based upon the study of the
 antique, nature, the human form, etc. A | study of this may be termed the study of
 the grammar of art in the academic sense.
 An accurate and discriminating analysis of
 the results of these studies forms the
 grammar of art.
 There are in general three periods in the
 development and study of the student:
 first, the elementary or formative period
 when he learns the rudiments and first
 principles of the technique. Second. In
 this period he is pushed farther on, and
 learns to apply the principles before
 series of pictures illustrated the progress
 of the work ot the student. In the study
 of the human form, which is the hardest
 and most difficult of all studies, the anat-
 omy is first to be thoroughly understood,
 especially the bones and muscles After
 this the perspective is studied.
 The third period is the higher or gradu-
 ate period in art. Now he studies the old
 masters for all that is best in the present
 is due to the past and can only be under
 stood by reference to the past He studies
 nature and strives to catch her onawaref
 in spontaneous action. He must always
 be thoroughly conversant with drawing
 which has been we'll termed the probity ol
 art. This period between the academic ) and professional life is critical one. Art for the first time looms up before him ir
 all the grandeur of it's beautiful poetic outlines as something living and breath ) ing. The student life has developed ( soberer judgment. Now he seeks voli tude. For the poet or artist to be revealed ) to himself he must get away from society } The creed of art "Art for the sake of art.
 For without enthusiasm and genius there
 can be no artist. Methods, means anc
 technique cannot make an artist, any more than grammar and philology car . fmake poet. He now also considers al as 8 means for expressing emotion as emo
 tional feeling is expressed in music by Wagner and other great composers. Th' , 1 true power of the artist is not in his hand 7 or eye, but in his mind-the imagination the emotional feeling"
 He closed the lecture with an interest ing account of the development of Rem brands famous etching of "Christ Healing 1 the Sick" He said that Rembrandt en tirely ignored the superficial realism that deals only with archaeology, and that he l found the characters and materials for hi
 painting in his own town-Amsterdsm.