New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-01-26
DOGS-ROSETSC

and they have a certain necessary prominence: but
of themselves they would not contribute the least
Io,a O, poetry IN a work OF art tniess tnere If
something more something that transfgures and
deals with art in an imaginative way, there Is no
vital element. Doubtless the Occidenta.s do show
a greater proficiency in anatomy and perspective.
But there are other things Of fundamental impor-
lance vitality OF composition. beauty OF line eHec-
tive massng. Whatever else may affect 1t. Japan
es. art Is characterized by grand composition.
stiveness and sweep Of line. and striking treatment
Of masses. These things. the greater things ac-
corl,ng 10 Professor Fenoosa. are Identical In both
Eastern and Western art. and that in his view, Is
the reason why Eastern art holds its own so we'll
I'm comparison with that which we have been accus-
toned 10 consider rs superior in many, If not all
respects
II Is easy to Sc that Professor Fenollosa is en-
ihuslst in the discussion OF his specially. but
how familiarity with the achievements OF Chinese
and japanese art. and appreciation OF Its deals
seem 10 baget enthusiasm In the student in direct
ratio with his intimacy with the subject Whether
or no; all his claims behalf Of oriental art are
/ admitted. the documents that Professor Fenollosa
brings forward in support OF them are of striking
interest They are such 10 rritate thought, and
indeed not seldom compel revision of some ac-
ceptcl standards Of Judgment and a recurrence to
underlying principles which may sometimes result
In viewing them In 4 somewhat new light These
documents as he made them known last Friday
evening" consisted of about hi ndred pairs Of
/ photographs the specimens OF European art being
chosen from the great masters. from the Greek
scnrt0rs anI 'ne b ar. ppShmen OF the B4rbzon
school Those OF Eastern arr we're repressn'aitive
OF all schools and media As practsed since the sixth
/ century OF the Christian era down 10 the present
time
tween these ar. worlds are 10 be round IN
sculpture. As in occidental art. the finest works
were the product OF ancient times. Several exam
pies shown in comparison with Greek and Roman
I NJ roll
group If Roman portrait statues shown by the side
~ a group representing Buddhist priests in tenn
pie VI the twelfth century striking resemblance
in the treatment OF drapery ana me strong,
the Apollo ievidere inferior to statue OF a
buddhist divinity that he put by lis side In delicacy
and nrmness OF touch while both showed the rather
rifeminate style OF handling.
\ comparison between the angels OF Fra Angelco
and the treatment of similar subject IN Buddhist
religious indicated some curious diyergences-
notably the modern feeling OF treating values preya-
lent in the Japanese work. Whereas IN FRA Angel-
co there about the same value given 10 each
figure ana o zach n was ma TO roune and n
shed equally. the japanese artist felt his subject
a modern artstIthe employ nent OF different values
all the figures being kept fiat and the effect being
Father of Kaleidoscope iiatness. -,,.- ..,.,...
/ An older japanese work upon milar subject,
dating back about 400 yeears-on The other hand,
more recent Fra -.ngelico the same use OF goli
and the decate outline fas the 1i sayer Sp WIN tn
those OF the Italian master.
A female head b. Raphael was brought into juxta-
artists of China who hourished in the eleventh
century-the greater antiquity Of the Oriental art
IN some of its finest manifestations Is noteworthy
fact in these paralleisms. The Chinese head. al
though so simple. cons sting. In fact. OF the merest
outline is an extremely delicate and sensitive rem
dering OF the Chinese conce2tiP2n, an Of beauty as
purely feminine. to use Professor Feno.osas words.
and as ideal In its way Raphaels.
In an entirely different vein an amusing contrast
Is be ohta ned from COMPARISON OF two pictures
Of dogs. one by iandseer the other by Rosetsu. Of
Kyoto who lived at the beginning of the present
century The Chnaman's method OF treating the
hair and its is by the subtest suggestion. in
some places by outline only, yet OF such sensi-
! tiveness as TO convey the desired impression most
wildly. In other places II is by a rough wash.
The ideals OF the English artist on the other hand;
compelled a minute finish and carefully studied
representation OF details. Both show the hand or
master
1t Is not possible trace here the many analogies
presented In the matter of design Of massng in
composition OF which the illustrations In Professor
Fenollosas discussion were numberlsss EsPecia,iy
interesting his examination OF the Oriehtai
landscape painting-a branch Of art In when these
painters had the fullest sympathy and mad eiapoi
atei a logical and vital method OF treatment wni.e
European art avoiding 1t as some thinf IN
worthy OF the attention Of the spiritually mlnueu
The Oriental landscape art In It's spirit, IL sssai
tally modern. and nearly akin TO the present ioea'S
/ OF Western artists