The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-04-19

spite OF all the histories Of art and
artists which have been written and
which prove beyond a doubt that prog
ress and change in the styles OF paint
ing are the very conditions Of the con
tinued life of art. the average critic
is still shy OF new ideas merely be
cause they are new, and the AVERAGE
man is content with what happens TO
be the fashion. regardless of its real
merit. The popular taste is badly in
need of education in all. art matters,
and such books as Mr.. Poore's do mis-
sionary work in this line He says
on this subject:
1T would be a healthier sign in art
il the press and public would applaud
new ventures when il was clear that an
artist thereby was seeking TO do bet
ter things and perhaps find himself il
a newer vein. But variety in art it is
maintained need not come Of variety
in the individual but of variety of
individuals. So Van NaTke must paint
cows, and Jacque sheep, and Wouver-
MAINS must be told By the inevitable
white horse. and have the mere mention
Of the artists name mean the same sort
OF a picture every time. This aids the
simplifcaticu of many sided question
The public as Mr.. Hamerton declares.
hates TO burden itself with names: 10
which might be added that it hates to
diherentiate with any single name A
good porraitist in England one year
exhibited at the Royal Academy a Won
derfully painted peacock. The people
raved, and thereafter he was allowed to
paint nothing else"
Elsewhere Mr.. Poore quotes this say
Ing of F. Hopkinson Smith.
tt requires two men 10 paint q pic
tUre. ~one TO work the brush and the
other 10 kill the artist when he has
finished his picture and doesn't know it,
If the artist deserves death when he
overdOes a picture, what do people de-
serve who try to force the artist TO
overdo a style?
But. the mystited reader may ask.
what are we to take as the standard Of
art. except what we like? Mr.. PORES
book is in some sense an explanation Of
true standards. After the discussion Of
these technical reasons for the merit Or
demerit OF pictures, he says in conclu-
sion:
The worth Of the foreign signature
is now Of the lesser reckonings; for
with the same spirit with which the
American artist would annihiIate the
tariff on foreign art. have the best
/ painters of Europe declared there shall
be no nationality in art It is the
dealer IN foreign art who alone fans the
flame Of such distinction.
Happy that nation which. when nee
essary. can believe in It's own. not to
exclusion, as does the British. but on
the basis of that simple canon adopted
by the world of sport, Let the best win
The conmonest bias to Judgment Is
also the most yulgar-pTice. The reply
of the man Of wealth 10 the statement
that a recent purchase was an inferior
example of an artists work: I paid ten
thousand for it; of course it's all
right was considered final TO the critic
The man whose first judgment concern
ing an elaborate picture of roses was
turned TO surprise and wonder when
told the price, which in time led TO re
gpect and then purchase, may find par
aIIels IN most Of the collection of Phil
istia.
THE picture painted for the demand
is quite as sure TO lack the touch Of
/ love and life as that painted to order
The collector should follow and never
lead the artist. as he IN turn should ac-
| cept commission only under the con
ditiou that he feels the subject"
It is pity that the presswork Of this
! book is not equal in merit TO the text.
The proofreading Is conspicuous by it's
absence, and ne reproductions OF pic
lures are far from perfect. (New York:
The Baker & Taylor Company