The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1895-02-17

inspired in the children of the city.
Time was when a painter, Shetching
in the suburbs. would be SHE'D at
with sticks and stones; and if a few
small boys gathered near his easel
it would be to tease him and make
remarks that indicated a doubt as to
his sanity. But it is different now If
couple OF artists are seen sketching,
they are approached with Difference
and respect, and the comments of the
children, uttered in an undertone and
at due distance, are a delightful proof
of their interest and sometimes give
evidence of precocious understanding
They gladly respond to an invitation
to CriticiSe the sketch, and while their
judgment is often amusing, it shows
that they have been taught something
of the principles of art and have q
romantic view of its Importance in
their studies.
The studios of the city are haunted
by certain class of visitors whose
purpose is beyond all understanding
They inquire closely into the values of
pictures want to know how long it
took to paint them, what the prices
are, whether the artist is married,
where is the best place to buy paints.
what it costs to take lessons, which is
the best blue to use, whether MIR.
HARDWOOD is a, better painter than Mr..
ClaWSon, why a certain artist wears
long hair, why another artist cuts his
mustaChe SO close, what is the best
, frame for water colors, and SO on and
SO forth Then they depart, why we
cannot tell. and promise to call again
soon, for what purpose we cannot i'm
agine. But there are lot of them,
and if they would only buy one-half
the pictures they are determined upon
having, the sartiSt5 would all be in
clover.
A friendly reader of the art column
in The Herald says that he is becom-
ing confused by the conflicting opin-
ions given by the different painters as
| to the aim of art and asks us
to define our idea of the proper rules
for painting. From this task we
| beg to be excused. There are no rules
and nothing in proper. Every painter
| is and should be a law unto himself
| The more conflicting the opinions or
art the better for art; the more
| confusing, the greater the triumph OF
the artist who brings order out of the
| confusion. A few years ago, a noted
landscape painter James Fairman. ex-
| hibited for sale some of his choice
works. When asked to what school he
| belonged he replied, "The Sclectic
| School" He was pretty old and opin-
! donated, himself, but of one thing he
seemed especially certain and that was
that there was nothing to tie to in art
but that if one lays no claim to origi-
nality he is free to pick and choose
| from the works of others, and may b5
an artist of merit even though he have
no personal unity, fixed principle OF
consistency. Mr.. Dallin was with us
one day and ventured to state that
such a belief was in violation of all
the canons of art.
"Canonsp' reared Fairman, "whe
dares to talk of canons in art? There
| are none. Every painter is free to sc
as he pleaseS. to paint what he likes
as he likes, when he likes and where
| he likes. He can paint on canvas, on
paper, on wood or on an old overShoe
| He may paint with a brush or a stick
or with his fingers, or with his big toe
| He can follow the old masters or The
new ones, or he can follow his nose il
I he chooses. The result is what mat
| tiers. If he makes a good picture, it is
none of your affair or mine how, when
or by what means he did it. 1 am sick
Of hearing about canons. Throw canons
| to the dogs, I'll none of EN-"