The Princeton union. [volume] (Princeton, Minn.) 1876-1976, 1893-07-06

lowell does not believe In separate
American school because 81 their work
would be Of second-class art. The
technique is thing which constitutes
the salient feature Of modern arts it
is known, par excellence, and the Ger
mans, Italians and Austlians are. left
out Of the comparison with French and
Americans, because they have not the
wizard touch only learned in the ecole
DIES beaux arts at Paris. They are
inclined to follow a little too much after
the false prophets Of the ideal in :trt
and to paint great historical scenes,
employing a color and technique not
suited to French and American tastes.
Angelo del Nero, royal commissioner
for Italy to the Columbian Exposition
in charge of the Italian exhibit of fine
arts, who has in large measure alb
sorbed the spirit of unrest and the ac-
tive and nervous temperament Of the
American is particularly full Of ideas
upon the subject Of comparisons be-
tween the different displays of paint
ings upon exhibition at the Columbian
Exposition. He said that he had to adj
NIT that the Americans had largely
copied the methods Of the French be-
cause they were pupils at the feet Of
French masters. He thought also, that
many Americans neglected to finish
their art studies by visits to the best
schools and museums Of other nations.
He believed that the foundations Of
modern painting were laid broad and
deep upon that Of the old italian mas
art, but he believed that no painter
could receive the broad cosmopolitan
taste, necessary to a great artist, until
no xyicif c,+1 IN a hos
museums and art galleries Of Europe.
''The American exhibit here, however,
is a revelation to me,'' said he. II had
never thought for moment that the
Americans who are considered abroad
more or less in the light Of copyists
could bring together, even in their own
country, an exhibit which very serious
ly completes with the best that the
nation can do which the nineteenth
century regards as the home Of fine
arts. The Americans have made q
very extensive exhibit and the merit
that many of the finest paintings dis
play, such for instance, as s'the FIagel-
lants" is beyond question the result Of
genius of the very highest order. A
broad sweep of the brush, the original
lty and bOldnesS Of treatment, although
the technique of the French school,
stamps it without question as the work
of a cosmopolitan, the Sine qua non
of the master spirits of the artistic
world. Naturally all artists suppose
that France would make the most ex-
cellent, as well as the most extensive,
exhibit in the fine arts building because
her commissioner had plenty of funds
at his disposal and he had world Of
art to draw upon The result how
ever, has been more or less disappOint-
ing to all of U.s. I must candidly say
that the honors lie, in my opinion, be-
tween IS e<
America and Germany us Cham-
pions.
Of two separate schools Of technique,
more or less Numerically opposed to
each other. Germany, with it's slow,
laborious, realistic detail-its working
out Of problems in art and America
with it's rapid impressionist, broad
sweep of the brush, which often gives
strength and power at the expense Of
nicely. Do not think that I sanction
what is known as impressionism in art
any more than do a too laborious
attention to detail. There is a golden
mean, a happy medium in all things
which only genius can attain There
is too much striving after startling ef-
fects-the bizarre French art It
is that spirit which is recognized in
the proverb "Startle Paris for an hour
and your fame is made" There are too
many attempts to startle Paris. and
often too few attempts to satisfy legit-
innate art and ones own conscience in
art. The Germans have made re-
markedly fine selection of the best
paintings Of the five best schools and
| the loan of twenty or thirty Of their
great historical paintings from the ma
tional art gallery has enabled them to
round out display better than any
foreign nation has presented here. The
Americans, however have more pic
lures displayed and in certain individ-
ual artists, show a breadth of treat
ment, a character and an Individuality,
| which entities to a front rank. You
would naturallys expect me to speak
of the Italian exhibit as the greatest
here, but am compelled to admit that
ours is not just nor complete rep
resentation of art in Italy, with the
possible exception of marbles in which
I am of the opinion we lead all others.
Some of Our greatest artists are not
| represented here at all, owing to lack
| of provision on the part Of the italian
Government Of sufficient funds to make
such an exhibit as would liked to
have done.
Taking the whole collection Of paint
ings here from all nations, i must say
it is the greatest in extent and the most
meritorious that has ever been collect
ed for a Worlds Exposition. It is a
very great honor in my opinion for the
Americans to take rank that they do
in this the greatest Of international
art displays 49,.
Reimhold Won Baerle, commissioner
of the German exhibit, was conserva-
tive in his opinions upon the relative
merits of other displays. He regarded
his own exhibit as the greatest from
the truly artistic standpoint, Of any in
the building. Mr.. Won Baerle has no
great respect for the French school of
art, he does not hesitate to suggest
that Americans have been wandering
off after false gods, in these many
years, in studying so assiduously
French methods and in patronizing the