Arizona republican., 1899-10-01
THE BEGINNINGS OF ART.
By Julian Willard.
lEOnrth PaDsr.0

(Fourth Papsr)
 u would be interesting to know eX-
 actly what is the psychological effect
 of each color upon the observer and
 how such an effect is produced. The
 infammatory effect Of red has long | besn known, and undoubtedly every ether colcr has it's own effect upon the mind Harmony in the blending cf
 several colors, however, has little re-
 lation to their psychological effec-s, since the appreciation Of harmG nous 1 coloring is net natural but is acquired | by observation and study. Love of
 color is natural; and much more so in some races than in others. But the
 perception Of the pr5per relations CT cclors to one another is acquired. It is possible to determine with al most scientific accuracy what coloT harmonizes with any ether color. but it is not so certain what proportion Gin intersity or in area) of the two may
 be placed together Ii will be under stood. therefore, that harmony Of color
 depends not only upon kind but also
 upon relative volume. In the coloring
 of Moresuue decorations this Is partlc-
 ularly evident. The question is not
 what coloTs shall I use, but in what
 proportion shall I use them and where
 shall I place them. Picture making
 becomes very complex when all these
 considerations are to be taken into ac-
 count.
 The art of sculpture originated with
 the same playful expression of senti-
 ment that characterized the origin CT decoration and painting. The idle
 whittier is seized with the desire to
 reproduce the form o1 some familiar object, a dog, a bird, and finally nu-
 man head, or some representation CT a supreme bslnng. Then. by facial eX- pression. attitude and various ether means. the attributes Of a person or god are shown. and from d. mere DOT trait. or copy of what is actually seen, the carving becomes work CE art, an expression of the artists conception or ideal. The Greeks in their literature symbolized every force Of nature ana deified each of them, while thSlf scuIp- tors wrought in enduring stone Ihelr conception of the human embodlmenC of those forces. Today our sculptors follow in the same paths, ever seeking an ideal representation of a person, q thought or sentiment, a natural force or a human passion, either by single figures or by groups arranged ana nosed in accordance with the laws of decorative art Rogers pcpularlzed wherever the English tongue is spoken by playing his imagination upon themes that were close to Ihe interest of the masses. But he ap- healed to the sentiment more than to the ideality and so fell short Gin his more popular wOrks) Of the hlgnest aims of the artist.
 There has been much discussion or the nude, in art. The tendency among our artists has been to follow in the steps Of the classic sculptoTs in max ing symbolicaI figures partially CT wholly nude In ancient times the sense of the impropriety of nudity either in nature CT in art. was not strong: there was, so far as we know, no clash between the artists and the 1 modest people. The use Of the nude i figure was warranted On account of its 1 suDcriCr beauty. One Of the highest | forms Of imaginative art is the pro duction of an ideal human form. But | it is also true that popular sentiment | in these times is opposed to the eXhl- bition of nude figures in public places, | and it would appear that some atten- | tion must be paid by ths artist to the | popular demand. especially in works | that come before public notice. On the | OlU6I ildHu+ IL dppCdi-o A414I'Ooo4bAS AO' him to entirely mckenzie his art, for | how could he clothe an ideal, sym bolical figure (Of Spring, for instaace) | with high heeled shoes. faunces, furbe lows. hairpins and a shell comb? He is forced to go back to simple, prim- ative forms of dress in order that the attention may not be distracted from the ideal to the individual, the com mon and the everyday