The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1900-03-25


circles to which they happen to belong.
This is not because they are artists. but
because they have moved in such circles
through family connection or the chances
OF acquaintance. The artistic Is not rec
ognized by the general public as a profess
sion that is useful to the body polite and.
indeed, necessary to Il. like that Of physi-
clans, journalists and lawyers Yet the
men and women who are to instruct aud
charm the present generation, and whose
handwork is TO stand as a proof OF the
artistic level to which our culture has at
tanned. should not occupy an inferior sta
ton or lack the sympathy and acknowl-
edgment OF their fellowmen.
Why should this be so2 Their numbers
might seem large enough to impress the
indscriminate and their achievements
worthy OF the esteem of the better in
formed. II Is often said that the public
is apt TO take people for what they assert
themselves to be. Certainly individual
artists cannot be accused of undertaking
themselves or their own productions;
rather is II usual TO hear some OF them
talk OF their work In n tone that borders
perilously upon brag Yet the good opin-
ion that artists now and then freely ex-
press concerning their own achievements
does not appear to impress the public
with respect: so that, with them at least.
this rule. IL rule II be, does not apply.
So little weight do artists-and use the
term in the narrower sense as applied TO
painters and sculptors-so little weight do
artists carry In the general estimation
that IL Is very common TO see long ac-
counts in the papers of monuments and
wall paintings opened for the first time
to public view without a mention Of the
men who designed them. 1t is not I'M
usual for the sculptor to be forgotten in
the invitations sent out when a statue
ls unveiled; 1t Is still very uncommon, in
deed, to find on great public building
costing hundreds OF thousands, the name
OF the architect recorded
This neglect, or this injustice. II you
please, is sometimes excused by the state
ment that many men besides the designer
of building. sculpture or .waH painting are
employed In its making. SO our silver
smiths, as a general thing will not let the
designers of thor show pieces put sigma
lures to their work alleging that others
beside the original artist have an equal
right. others through whose hands the ar
ticle goes IN its various stages toward COM
pletion. One might as well argue that the
sculptor should not be permitted to have
his name on a bronze statue because the
bronze founder and the chaser would also
demand the same privilege.
The social status of artists is on the
whole lower hero than in Europe, not he
cause we have any contempt for the va
rious members OF the guild. but because
we neglect and overlook them. Little def
erence is paid to their opinion even In
matters of art Their counsel often re-
mains unsought when matters are being
decided which call for the highest form Of
expert advice in art. 1t is as IL most peo-
pie resented the idea that artists might
know better concerning art matters than
laymen and were determined not TO ask
their opinion. Yet people do not act iT.
this way with REGARD TO engineers. medical
men. lawyers and clergymen; it is the ar
list whom they forget or disdaln-
In Europe It appears to be legacy from
the past that artists should be taken into
account, perhaps because the king aud
mobiles did not think II beneath them TO en-
courage and foster art and the sunserNi-
ent commonalty followed the fashion set
by the great. We have no such traditions
over here, and our moneyed men are more
apt to buy French. German and English
pictures than American, because they are
persuaded that foreign canVaSes are more
easily disposed of at profit In case they
desire to realize the sums originally eS-
pended: that Is to say. because they ap-
proach art from the side of commerelallsm
owing to their experience as commercial
men.
Yet the word commerclalism. which Is
too often used as taunt. does not ex-
haust the matter; there are plenty OF
men and women with means VINO 90 not
feel the influence OF strictly commercial
training In early life, graduates or uni
versities and persons who have Travelled
much and led lives OF liberal study, who
seem never to entertain so much as the
tdaa that they might do a service TO the
nation by turning their attention 10 the
national art These are people for the
raost part who approach art from the oid
literary position. looking al art through
the epeetaeles OF favorite authors IKE
Ruskin, who are rhetoricians and httera-
tours FIRST Of all and true appreciators Of
art only in the second place. Our later
art. InoIininx toward technical perfec-
tlon rather than sentiment and anccdote,
leaves the art lover who approaches II
through literature cold and unsympatnet-
10 He turns 10 the old masters that suit
his training or drops art altogether and
merely fancies himself an amateur be-
cause he likes TO read about art
But painting and sculpture. like music.
must be enjoyed for their own sake. on
their own merits. after considerable ac-
auaintance with the best ancient and
modern examples and with the distinct
perception that they are things BY them
! selves have a language q their own. and
| 20 be truly relshed must have from their
admirers just as true and faithful service
as lovers Of other arts give 20 their Hpe-
/ cial Affection Painting. and sculpture,
| too may he traced back through forgot
ten ages 90 the time when letters were
| pictures. set &c may be said OF art as ~
| religion that 'tho letter kuieth," u We
/ DO not strongly grasp the Fast that the
! plastic arts have developed into "a realm
I 81 their own which Is neither literature
( nor music. however ono may ina ta them
/ uuderiJtns. araiog!es with both.
/ The problem fdr our artists consists IA
! making thelr products popular iu the
I higher sense. not vulEsTiF popular bat
! adapted 70 thr present needs ~ their fr}-
/ low ceuntrymcu. Portraits ana mural
! paintings ordered by Municipality or pri-
/ waite citizen meet this problem 80 far ls
/ thsy g. But their scope is very limited
/ Thr illustrated press has a great GflA &c
I ITSELF wherein many excellent artists arr
! being formed Elt the ordinary wrIj-ta-
/ a. rltjren is far from feeling TIE need a
+ sculpture aut painting aR an Integral
/ part % the surroundings 90 bis s4wH
! One reason for this tart Be- The hlaufarsi
90 painters ard se.'ptars fram the dal.y
+ i,fa ot the c1mm4nlt.es ln Vuich they
live.
/ slurslAr,v enough tha American artis,. Z
t... d. .rr..raa Ia 81 H1.s fsfr. 40 I'D. r-