The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-04-15
The American Renaissance.

A singularly lucid and direct interview
with an English decorator now IN New
York has started a wholesome and in
teresting discussion for men and women
interested in art in America, which has
been reflected in THE Suns news COL
umns In the last few days.
The Englishman used the pleasing
phrase, American Renaissance" and it
seems to have struck some Of the artists
as of hopeful augury. if not instilling a
conviction ofimmediate promise. Il am
looking forward" said he, "to the day
when the American will think more OF
what is harmonious and simple than
what is costly. When that time comes
you will have a new art. typical OF the
best that is in you,t the American Renais-
sance."
Might he not with accuracy have
spoken also of the extent to which Ameri-
cans have been under the influence Of
the teachings of those, figuring as lead
ing builders and embellishers, who have
constantly put forward Old World models
as the proper guides, instead OF encour-
aging native development? He did, in
fact, In another part Of his interview,
express his surprise that we should be
willing to copy alien forms, often clumsy.
rather than use u W plenteous oppor-
tunities for developing more beautiful
ones in a style Of our own.
Two points particularly have been
noted by some Of the artists interviewed
in THE Sun. One says that people here
have been taught to think that a Louis
XIV. or Louis XVI. house or room Is
what they want. Another says that this
has caused the building and furnishing
Of homes and public edifoes to become
in this country rather a business than an
art or a profession. Is it possible that
large numbers Of the people have per-
haps misused their opportunities Of
seeing imported art works and have
come to think that works OF art must
come from abroad or be like the pieces
or models imported? Has this idea been
instilled rather than the lesson that the
art Of a country must be a growth and
expression Of the genius Of It's people2
Another artist says that to effect a
change it will be necessary for us to train
up "a workmanship" as he expressed it
"a skilled craftsmanship, such al the
old countries had in the days when they
developed the best in their art. He de-
spairs Of securing a return Of this skilled
craftsmanship under the present system
of union dictation and the adjustment
OF apprenticeship. He is convinced that
if unions and employers cannot ar
range to restore the old system an
equivalent course Of study should be
made a part Of the curriculum in the
system OF public education. He in
stances the fact that an immediate be-
ginning Of this is nowto be found in the
few manual training schools. Possibly
an influence conducive to this end may
be found in the newly organized Society
Of Craftsmen, which came into being
in this current seaso in New York.
Rut such a society must exist for self
development-not as an organization
moved by any interested leadership-to
effect it's best possibilities. Local move
ments of a similar nature are reported as
under way in several other American
cities.
One Of the New York artists cited the
fact that MICHAEL ANGELO was not only
a painter but a sculptor and architect
also, and that it was the painter LIE BRUN
who designed the most beautiful room in
the Louvre. The English decorator had
said. at is chiefly because the building
itself, its arrangement of doors and win
dows, has as much to do with the final
effect of the decoration and the furniture
that l prefer to design the building as
we'll as the things that are in it In
this country the architect usually is
the one who designs not only the build
ing but the decorations within it, and in
many instances he is without special
training in the art of the decorator,
w learn from the Old World, of course
but why should it be necessary for the