The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1894-12-16
ART AND ARTISTS.
INDIVIDUALITY OF THE KNIGHTS
OF THE BRUSH.
Clavvson Doesn't Like the English
School, But Lambourne Does
Harwood's Pictures-The Art Elk
hibifion-Notes of Local Interest.

One of the blessed things about art
that endows it with perennial interest
Sc that no two artists think alike or
paint alike. A lesser painter may en-
deavor to initiate a. greater, but IN
spite of himself his individuality as
serts Itself. The most excellent copy
lists cannot possibly duplicate the work
of a, great master The copyist must
necessarily have less power than the
master. or he would not be a, copyist,
and let him follow the master with
ali the application in his power, there
will still appear in his work the in
diyiduaIity of his personal inferiority.
And so it is at every step in every
q5hase in art The painter cannot es-
cape the stamp of his own measure.
This does not mean that a painter
cannot develop and be greater in the
future than he is today, or be greater
today than he was in the past; but
it means that a. small mind cannot
keep pace with great mind and that
q little nature cannot produce u big
picture
Artists are tempted to become en-
Shusiastic specialists. Each has his
natural bent, and that is the one he
should follow, but he should keep his
heart and mind open to appreciate the
natural ben md aim of all the others.
IL a painter seems predisposed to paint
certain subjects under certain effects
it is probable that some Psychologist
could find a reason for 1t. Prenatal
or ante-natal or some other influence
has caused it. If this is true, how alb
surd to look for the same tendencies
in other painters. Why not rejoice, as
we do. that the tendencies of each are
different. thus bringing about an in
finite variety OF aim, treatment and
attainment?
Mr.. VIII Clawson doesn't like the
English school of painting. He has
studied in Paris and believes in giving
first place to lighs, air, brilliant color,
values and technique. In this school,
the thing said seems less important
than how it is said. The work of Sir
Frederick Leighton is like poison to
him. lie says that artist gets his own
flying effects of drapery by spreading
his model out on the floor and making
her appear perpendicular by means of
a mirror set at IS degrees. One has
only to have this suggested to him
and 1t certainly appears to be true.
We admit that Leightcn's draperies
are artificial and false IN arrangement.
This is but a sample of numerous
technical faults that can be alleged
against the English AS a, rule their
technique is heavy and their color
either foxy" or pallid.
Mr.. Fred -Lambourne. on the other
hand. thinks English art is still the
greatest. Ee does not strenucusly
dispute their faults of technique,
though he is not over ready to admit
them; but he claims that their pictures
have g. depth Of purpose that is lack
ing in French art, that they tell a tale
and have d moral; that they enlighten
the mind and interpret human emo
ton; are sensuous or spiritual, while the
French are sensual or voluptuous.
And while so maintaining, there is to
be detected, in his conversations on
the relative art of both countries, a
disposition to underrate the qualities
that make French art so brilliant and
effective.
This comparison between the views
OF two sincere students Of art may
serve to make our meaning clearer ii
would be better If both would allow