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

ran would change the position Of msnr ,.,,.
n ne have placed reliance in the fideI.
NY OF ms style q painting Yes" said
Delong to the accepted school OF impras
sionism The school Of impressionism Il nnt
true imprestsnism, because It is TOO false
the way the artist sees It. This is common
sense. Common sense is as applicable 10
painting painting as to any of the arts; There is no
the simplest kind that is backed by com.
mon sense, and where there Ia no abnormal
crcumocution In order to portray a mean.
ing. ! cite Shakespeare and Homer to
Prove my ideals. There you have tho ideals
Of simplicity. They had great Thought
simply expressed. and in style that could
not suggest misunderstanding of the
authors meaning. / do not consider that
my views are at all radical. since they are
based on sound judgment person look.
Ing mt n picture does not want to stop 10
think out he suggestion placed on the can
vas Tue art snould Instantly convey its
meaning, like true music or poetry. There
never was truer picture or mo e simple
one than the cloud-painiiDS in "Hlmlet, !"
where Hamlet and Pelenius Imagine they
see camels and weasels in the clouds That
is perfect picture. enc no one can fan to
compI ehend. 1t appeals to us instantly. So
] say, the school Of impressionism Is false
TO the very thing 1t pretends to initiate, ana
is therefore mere pretension and MT real
art
On the subject of the inspired artist Mr.,
like all he says, highly interesting. II be
lieve in the inspiration of the artist to this
extent The genius or inspired artis may
be born, but he has 20 be made. Constant
work Is the only thing TO make the original
genius. There is no such thing as neglected
genius. There are No such people. Where
ieal genius exists II is an impeling force
that compels development. And all of our
real men of genius have been tr mendous
workers There are many mon of great tai
ent who are lazy. These lack the appl ca
| tion Of the genius
| Mr.. Moran is an admicer of the moral tone
| of art and also of the sentimental side
| of It, but he admits that this may be very
vicious He believes that art is elevatng
| just in so far as It Is treated from q Vi W
| point of lofty ideals. He lik 2 Boueereau
| because his nudes are not sensual any more
| than were the works OF Ingras, the other
| great American landscape exponent has
| rigid views. He claims that cur art critics
! have their chief business in finding fault
| which IL Il should not exist. lis made to
| exist by their peculiar brewing of criticism
| He believes the critic should study to find
| something to admire and not 70 cfiticisr
"The critics have led the public to believe
we have no artists In this country Ihat
| is why we who have studied nard all our
| lives TO prove the contrary object 70 the
| statement" he added in conclusion.
| MIR Moran is now SIS years of age and
| is as vigorous as n man Of 40 He spends
, the entire summer Of every year IN the
| Rocky mountains where he has drawn llS
| insnirntion for his wonerfu paintings Of the
| Colorado canyons. There Is much more ~
| he said of this artist hut more Is Expressed
| in one of his works than could be conveyed
| in a volume. Cnarles lhoil"s i''e'"