New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-04-25
NEW PUBLICATIONS.
BOOKS ON ART.

of the Infinitely little. A japanese swordguard
or Greek coin will give one winning sug9es-
ton Of artistic loveliness. distinction De
tween the two however, which needs TO De
noted brings US to the most significant feature
in the works illustrated in the just-pubished vol
ume on Greek Vases Oondon, T. +. Unwin'
New-York The Century Company. edited by j.
E. Harrison and d. s. MacColl. The Oriental
modeller or painter always was and still IL pas
sionately enamOred Of the most minute and closely
analytical conventions. The Hellenic artist. on
tho other hand packs a world Of meaning into
the fewest possible lines. His whole art is summed
I'D in the word concentration" Not many
outlines appear upon the rare vases OF the past
vet there is an amazing reality and vitality IN
the episodes which they depict Chachryhon
Euphronios, Epktetos. and all their nameless
contemporaries, had the whole heaven OF an
anthropomorphc religion to draw upon Tor their
themes. Herakles and Theseus Amphltrite ana
Artemis Peleus and Thetis, were the SUBJECTS
of their compositions. They could paint the
Judgment of Paris" as We see IL In Plate Xxx
Of this volume; the escape of Odysseus from the
cave Of Polyphemus is enacted over again III
their naive decorations and besides these mytho-
logical motives they had the familiar life Of
their time to portray. We call their decorations
naive because their conception of pictorial de-
sophisticated art: yet the dignity and i'm
nress,veness of the work are undeniable
The lines flow with an indescrbable smooth
ness and grace The bodies have in them that
, rich suggestion OF latent capacity for movement
which we recognize in the statues of antiquity;
and there IS consummate tact in the adaptation
Of the figures to the limits OF the arbitrary cir
cular spaces.
To bring these paintings within the canon OF
modern art it would be necessary to modify their
conventions of relief and outline; but in all that
relates TO color and characterization. In much
that relates to grouping, they abound In inspira-
ton for the artist Of the present century. 1t Is
for the latter parsonage that the authors OF this
work have chiefly labOred Az they say IN their
preface archaeolOgists. specialists, have hitherto
been the sole possessors Of such Illustrations as
they have here gathered together and it is time
that the purely aesthetic value Of the paintings
should be apprehended by others Greek litera-
ture Greek life can be studied the better for oc-
casional light from Greek vases. Greek art also
IS made more interesting 10y an acquaintance with
the masterpieces Of Greek pottery. The latter
are superbly celebrated in this volume, which
contains over forty plates. executed with the
utmost care. Each plate is accompanied by an
elaborate description. which is in turn connected
a
Harrison writes the introduction in an attractive
spirit of modesty, and Mr.. MacCol is equally
unassumng in the preface. But between them
these writer's have put forth book which is
certain TO prove of great and permanent value
The general direction of Mr.. William Ordway
Partrjdge's argument in his Art For America
Roberts Brothers. Is its strongest point. The
force of the book is diminished by the authors
e lilo
but what is left after his digressions. slightly
didactic tone and some short sighted criticisms
are deducted is a principle Of ideality not only
stimulating but plausible. Such rainbow fancies
as that the greatest violinists should be brought
to discourse sweet music in the common schools
may readily be forgiven In view Of the fact that
Mr. Partridge pleads not so much for that precise
contamination for willingness on the part
of the public 10 entertain similarly noble ideas
"a work Of art is the natural product or result,
he says Of refined and cultured living; and
that which he urges upon his readers, with an al
most emotional persistence, is the incalculable
value Of a really deep and symmetrical educa-
ton The point is we'll taken. Art is nurtured
at the foundations Of mans being; what the
latter needs most Of all is a substratum Of taste
and sensitiveness. developed with the very begin
nings Of intelligence and individual effort Mr.
in the schools for mural decorations in the same
places for sources of inspiration. in short, which
are commonly regarded as quite foreign TO the
needs Of childhood. Where he carries his essays
to an even more useful conclusion is in pointing
out the necessity for expansion not only In school
but out Of II. We are absorbed in channels or
daily life. worn deep by selhshness and indiffer-
ence as much as by force Of circumstance Mr..
Partridge is aware OF the Philistne In essence
If not in numerical significance, and on every
page of this book there is protest against
narrowness and sterihty. vigorous. earnest
plea for wider horizons quicker sympathies' more
spiritual standards in the growth Of CIVILIZATION
The author has lofty ideals. he has the courage
of his convictions and he has refreshing beler
IN the future Of American art. His wholesome
contempt for the shallOwness in much current
talk IN favor Of art for arts sake" the justice
Of some of his comments on modern French art
furnish sufficient reason for the repr1nting OF MS
,anars n hook FORM few loose statements
Mood 70 be corrected To separate art from religion
&c not as Mr. Partridge AYERS. TO separate artiron
itself Substitute Spirituality Tor rengloh
and the observation might stand Then while II
&c true that work was Michael Angeles JOY
and recreation" 1t is most decidedly not true tha'
"his art is the lesson of untiring industry Ihe
rreat Florentine's art. more, perhaps than thd'
Of any sculptor in history. teaches primarily '"e
lesson of spontaneous impetuous, inspired crea-
zion Industry is the last thing to be thought OF
In the presence Of the Medicean tornos or ,he
sistine frescoes however tustifiably II might DC
said that they are the works OF the most IN
austrious artist OF his time. Mr.. Partridge esu-
mate Of Shakespeare is also. we think remark
ably wide Of the mark. But these details are uh-
important. The book proceeds upon the assunp-
ton that the art for America is the best ART
the ar, most penetrated with high ennoohhg
thought. and It demonstrates clearly that the
only foundation for such an art is a broad ifee'
cultured national life.