The Houston daily post. [volume] (Houston, Tex.) 1886-1903, 1902-06-29
FAuIrspF AMERICAN ARTISTS.

FAuITsbF AMERICAN Ap.TIsTs.
pause the conversation brought up
matter 4 the American artist. Here
vnee INST artists fear to fail. They
"n nseo talk Of each other, and Mr..
~ NJ unlike the type. Speaking of
hults 4 those at home. he said:
h1ele faults, and no one can deny
asin the lack of individuality Of
asn. MS is noticeable in all of our
FDn'ns While this may not be relished
hns sb are rated high in the profess
y uut stand as unanswerable among
Enoitop to give the subject serious
1Aosfat'n. Another fault rests in the
4sue ut many of our Americans have
naslig the work of other men. They
~ hnk for themselves. They do not
nip the depths and mysteries of ma.
aa from her hear the callings from
aeias the clouds. the mountains and
qe Old Hudson river school, so.
". !. Cnurch, Kensett and the Harris
sie purely American, and they
N y uonor TO our land. Perhaps
H.. sss the greatest landscape painter
IN Ever ever produced. These men I have
kssrad ~ ~ auleIlCdu painters, I'M
Il ' ~ ~ SCHOOLS OF other nationalities.
Is not so. our men 20 abroad
,,,sinss with foreign ideas and apply
Ss.ags OF foreign masters TO Alneri-
sSs.ll'eiial-where they use American
IN ! want to he quoted as being
IN !" tne foreign subject in paintings
mSioasa ve every phaze of landscape
~ Il r mere at home. America Is
~ material for the true artist work
uIu ss Tue lines OF individual develop
~ my country in the world. Leav-
ssal nance, we are the most wonder.
Ern .ue country in the variety of sub.
,9 S to civilization"
hi r sa.ht school of American art Mr..
Trs rsttnaps thinks more than he would
isvs va conversation. But he did say:
,ar, no distinct school of art In
N, ~. nave already named the three
ltry 'bt, ss In my humble opinion this
M, ~ w produced, and perhaps the
Il ~ ~ .nese was #. f. Church. Where
,fs,s' seuay such masterpieces as his
IL snu MIS- Heart of the .Andies:
y, d a.. condemned by some of our
M, te solely TO the fact that his
ma ~. the royal road to art. His
IN mean work, constant. intending
,,snaa else would have produced
farSiNY n1onsly successful canvases.
hi ~ WIN the average young artist
Il s, ltheS TO slop over his canvas In
trpt ~. ny " These examples lack
d nss,sn principle and the true stand
h d ~. 'ement us gagged by the past.
sso a., stop to consider that it is
an snh "a 70 Judge by the living. No
a. Judged by the living. Only
s5iM, ere dead are worthy In art for
o. ma taste, execution, treatment
M ns ssk. continued Mr.. Moran, us
Nan, brains as evidenced in his
HI h nv 70 know what his opinions
s.tn me arbiter OF his own pictures
Nh ie' ZolaS definition of art ex-
hstntn demands when he said that
III hns seen through n temperament
rlhe M that art Is best defined as
sA M, ' we as 1t looks aud not as II
4 N SATISFY me. An artists bust
ah * p.od ae for the spectator of his
NJ himsa1,sn pression produced by MI
AlIn.seit Surprising man to he
ti sms. individual; he sees only n
Essissh' OF art In n picture. or. In
" "a y ne sees as he has the ahil-
Al Is the same thing when
1he ..Isture. SO the impressions In
'rael lst affects all men, but not
IN IN, me same degree The meas.
k HI as In the layman, Is
4 ,r,r thnice Both have feelings.
~ n ne differently expressed. The
N hi nope 70 reach the pinnacle of
M proves his perfect idellty.
NJ n much difference In nature as
eld ,Dnhieal skin is only a means
1Iae n"u IN itself Is valueless, the
en, a Picture being the applica-
y worthy subject.
III. s.kEssIoNIsT SCHOOL.
isn A.rc is ne phase of art more
~, sa than what we call the I'm.
''nool. On this point Mr.. No