The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1899-09-17
A REVOLUTIONARY BOOK.
Miss Southwick's Review of Mr.. BOWS
New Treatise.

Miss Southwick's Review of Mr.. BOWS
New Treatise.
Occasionally one finds among the null
titude of new books which daily drift
across the horizon, one that is as re-
freshing to the mind as apple blossoms
are in spring after a dreary winter
Composition by Arthur Wesley Dow,
curator of the japanese paintings and
prints, Boston Museum of Fine Arts,
instructor in composition at Pratt In
stitute, and Art Students league, New
York, belongs 70 this class.
1t presents the old old subject of
art in a new and original way as
evolved by the author after long study
and successful work both in teaching
and in painting, himself. In this vol
ume, which as part l is the beginning
of a series, is set forth clearly and in
simple way the fundamental truths
of art education as they seem to him.
The principal idea is first and foremost
revolution of the old academic meth
DDS, based on the phrase, Paint what
you see, and as you see it, just as it is
in nature" Mr.. Dow contends that
the accurate rendering of certain
facts of nature" lis a scientific rather
than an artistic exercise" and while
the true student loves nature and goes
to her for his subjects" he does not SER
vilely initiate for the realistic stand
ard has tended, and ever will tend, to
the decay of art" We all know that
the great masters in art, those whose
work has most influenced others, have
always cut loose themselves from aca-
demic teaching, and never advocated
it for others. 1t is to such men that
all progress in the art world is due.
One has only to consider the names of
Manet, Rosetti Millet, Rodin, Whistler
and Chavannes to fully realize this.
The book will be doubly interesting
to the people of Worcester, from the
fact that Mr.. Dow formerly lived here.
and while a lad began his life work
as student in one of the private stu
dos here, while for very brief period
he taught in the evening drawing
school.
1t is to be regretted that he puts this
book before the world as a System"
by which to gain an art education.
The word system in this connection
savors entirely too strongly of receipts
and mechanical contrivances by which
art with a capital A may be acquired
by the masses, all of which is quite
foreign to the authors thought as ex-
emplified by this book as well as is
known by those who are personally ac-
quainted with him. In the preface or
note, as he chooses to call it, he ex-
pressly discountenances that idea when
ne says: 1T is not my intention to fur
nlsh a book from which art NAV be
taught, but to offer a principle by
which an instructor can be guided.
etc.
Those of US who have been fortunate
enough to have studied this principle
under his personal direction. and have
applied the knowledge so gained, not
only to our own productions, but also
used the methods in teaching others,
know its great value. In teaching
large classes Of children | found Mr.
BOWS plan worked with charming re-
suits, not for them to produce realis-
tic effects, which, the average child be-
ing no fool, knows he cannot accom-
plish with satisfaction either to himself
or his teacher, but simply to work from
a given theme for beauty of expression.
me one word beauty is the keynote
of the whole book
That this method of work is of value
no one can. doubt who has seen the re-
suits, especially where it has been tried
for sufficient length of time as have
seen it in some of our western cities.
IL is not snapshot affair, to be learn
ed in ten lessons, but requires long and
continuous work, as well as criticism
from skilled instructor in order to ac
complish good results.
The book is filled with pithy notes
and suggestions. l should like to quote
a few lines for the benefit of those edu-
Gated people who are nevertheless Woe
fully ignorant of even the simplest
things in art, yet have the courage of
their ignorance and boldly say what
they think should or should not be done
in this line. To such people the word
copy has but one meaning, it's lowest.
and they particularly pride themselves
that they countenance nothing which
savors of such practices, and display
Grass ignorance in cOndemning all work
by another to which that word can be
applied, regardless of the object sought
Mr.. Dow says: can important part of
an art education is the coming in con-
tact with the best works of art, and
getting from them an appreciation of
beauty and a stimulus to create. The
pupil too often listens to talk about the
subject of the picture, or the history,
derivation and meaning of the design, |
or the accuracy and likeness to nature
of the drawing. All these are really |
either literary or scientific considera- |
tons, and while they have their place !
touch upon art only specifically. The
most important fact relating to a great
work of fine art is that it is beautiful. |
Then speaking of some of the great
art treasures we have, he continues
Let the pupil copy these examples. In
no better way can he be made to feel
their refinement, and to perceive the
art in them. An attempt to copy brings
his mind for little time into contact
with that Of a superior He sees the
difficulty of reaching the perfection OF
the master. Copying as a means of inn
10 st. $50
ing of the creative faculty is the oppo-
cite of copying as substitute for orig
lnal work"
While the book necessarily is rather
technical. being designed primarily for
the al list and art student, still there is
much In 1t of broad general principles,
which will apply to all art, making 1t OF
value to those who are interested in art
education from whatever standpoint.
The publisher. j. M. Bowles, Boston,
presents the book to IL Wesia in "a