The Washington times., 1902-02-09
ART AND THE ARTISTS.

vase. stretch of still water under
the moon, a human face or figure.
uninterested aud unoccupied. appeal to
him m a way that makes us Indifferent
to the relative Importance of the things
he paints. Ii is art for arts sake, but it
is far away from the lagerdemain Of the
ordinary clever technician. IL quality
alone can stamp a man master, then ws
have a master here.
Before the comprehensive and viriie
canvasses of the great painters We may
reckon this man a dilettante, but his
works are representative of modern art
achievements. Their qualities are essen
TALLY modern. He has built II Is true,
on the old foundations. basing his art on
the Japanese. but there is that personal
note in his work that will be in some
form a characteristic OF the art that shall
arrive in that distinctive period we are
all looking and longing for The essen
tial modernity of Whistier's works-and
let it be said now that this is not criti-
eism or Appreciation" Of Whistler; he Is
used here for iIlustration-is in the Pc
culiarly sensitive and refined quality of
his perceptions. He illustrates n modern
point of view; his art Is the expression Of
a modern spirit. In the franker and larger
perceptions Of the old masters these SUBJ
tie relations of tone and value we're dis
regarded
Color in the Modern Eye.
As civilization advances the senses
grow acute and sensitive. Primitive races
regard color in it's primary phases in reds
and yellows and blues as they advance in
culture. Colors are perceived in divis-
ions and then in subdivisions until the
sensitive modern eye perceives them in
the highest forms of alienation as we'll
as subdivision.
The old art is more virile, more pene-
trating, mere comprehensive; it is
franker. bolder, and more spontaneous; it
carries its learning more lightly. less con-
sciously. and altogether is more r,anIy
and more positive expression OF definite
ideals. The modern lacks faith, hence he
questions his ideals and bocemes expert
mental. II he falls in with scientific ma
tcrialism he viii be brutaliy realistic;
resisting his he becomes revolutionary,
even anarchical. 1t is TO the credit Of the
painter We have used in Illustration that
he has avoided these extremes without
being swamped in that middle ground Of
the commonplace where the temperature
is too equable for real emotions OF any
sort, and IL may be repeated that the ad-
miration expressed for Whistler's work
may indicate 0et us hope it does indicate)
an undeyeloped undercurrent of feeling
that may eventually break through the
trammels of enforced mannerisms and
vitalize a national art
The Washington Artists.
The circular announcing the dates and
conditions of the coming exhibition Of the
Society of Washington Artists, will be is
sued tomorrow. The society invites ex-
hibits in oil. pastel, burnt wood, minia-
lures and sculpture. which have never been
publicly exhibited in Washington before
The dates for receiving exhibits at the
New York Avenue entrance of the Cor
coran Gallery. are Monday and Tuesday.
March and 4. The private view and re-
eeption will be held Saturday. March Is.
and the exhibition viii be open to the
public On Sunday, March 1S Every effort
IS being made by the executive commit
Zee to make the coming exhibition sur
pass all former annals in point of ex-
and to insure this forty-hve of
Americas strongest painters have been
invited to contribute. The list includes
such names as John W. Alexander, Frank
". Benson. Bruce Crane. Kenyon Cox.
William VI. Chase. Walter Clark. W. A.
Coffin, Cecilia Beaux. Thomas W. Dew
ng. Charles H. Davis. Ben Foster, Bolton
Jones, John La Fargo Henry W. Ranger.
Henry b. Smell. d. W. Tryon, Abbott
rhayer. Frederick Dielman. Robert w.
vonnoh, Robert Reid, Horatio Walker,
George De Forest Brush.
Nest of these men have been seen by
members of the executive committee and
nave promised to be we'll represented.
Circulars will be furnished upon applica-
ion to H. Hobart Nichols, secretary, 1857
dolmead Avenue.