The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-03-23
BACK TO The ACADEMY NOW
JOHN la FARCE RECALLS THE
REVOLT or THE YOUNGSTERS.


Society OF American Artists Has Grown
Conservative Itself with Years and
Now II Leaves Room for the Younger
Painters to begin the Work Over Again.
John La Fargo pronounced yesterday
the valedictory for the Society Of American
Artists, which amalgamates from now on
with the National Academy Of Design
and Is holding it's last exhibition. Mr.. La
Fargo had to stop to think just how long
he had beer president OF the society; he
thinks that it was about five years; but he
was vioe-president for a long time before
that.
at Is a good exhibition, y ne said, "a good
one to 20 out with. In some respects it
is the best we ever had. The range Ia
wider. There are moro methods repre-
scented. Take for example the influence
OF Italy on the last group OF young men
who nave been studying ~abroad-the direct
influence OF the old Italian masters. That
was plain and noticeable in this exhibition,
where two years ago the Unfit was all
modern. American painting has broad
ened.
THE work Of the society is DONE. It was
needed in its time. 1t was a protest Of
new men against conservatism. Now that
1t has grown old and somewhat conserva-
tive itself there is room for a new group
of painters to start the work all over again.
l am telling that to young painters new,
Il was not quite in at the beginning
Of the movement, but / was in sympathy
with it and / saw the causes which led
up to it. A good deal OF the tr ouble CEN
tired about Whistler. The academy had
grown conservative. We Of the younger
generation, most OF us educated in art
abroad, recognized Whistler for what he
really was. That year Chase was rejected.
| Saint Gaudens was rejected, and Whistler.
who submitted a characteristic canvas
not one of his best, but a Whistler-was
hung away up over a door and withdrew
In disgust. Probably they didn't like
Whistler personally, but we maintained
that liking should nave nothing to do with
q question Of his art. Then Chase, Ibelieve,
had said something which the academy
didn't like. AS for Saint Gaudens, he al
ways had a just appreo iation, as he had a
| right to have, Of his own work, and he was
| not pleased, you may be sure.
aThere were other causes. The greater
number OF the aoademicians had a certain
prejudice against such Of us as had received
our art education on the Continent OF
Europe. On the other hand, they were
| doing nothing to promote art education in
this country. There was a school, In which
the students practically elected the teachers.
The academy had a fund for 2 school,
which it was not using, although there had
been talk Of an amalgamation with Cooper
Union, We wanted a school. That had
something to do with the meeting at Mrs.
Gi nsSsdsI in AI ls.t, at at Which iaTme ths society OF
The first exhibition OF the society brought
out canvasee by Whistler, Chase, 1nnees,
La Fargo, Thomas Moran and Homer D.
Martin.
ourselves" continued Mr.. La Fargo. -And
the circle of time swung full turn for Whis-
tier. A few years g Mr.. Freer offered us
an exhibition of Whistler paintings, There
arose some complication caused BY q
conflict Of authority over hanging, and Mr.:
Freer withdrew them. Whistler heard OF
It and wrote US a letter full Of vitriol, the
kind Of letter that he could write. l wrote
bach to HINT must have been one OF the
last letters that the poor boy received
mainly because one Of his early canvases
was badly hung.
Il myself had been working for the ANAL
gamation for about six years. We had been
reasons why we would be stronger united,
while there was no good reason for remain
ing apart. You see, part OF the academy
plan Ia to have a great art building some.
where IN new 1OTh. 1 uOH ueeu W teil
you that it is hard to hnd a place for suoh a
building now. There is a promise OF help
from certain rich people, but we need all
the money we can get. There had to be
some modification OF their rules to fit the
spirit OF our rules, and we've yet to find
whether It will work. You know, l among
others insisted from the first on rotation In
office in the matter Of %iuries, In order to
give the widest possible variety OF taste
and to prevent undue conservatism In
selection. We arranged 1t so that every
member would serve on a jury at one time
or another.
Il was in the academy before the society
was formed. 1t was | who, as a younger
member, fought through the principle
that an academiclan could not be excluded.
j told theIolder members then thai was
doing 1t not for US of the younger set, but
for them. For 9 young man, once he has
won his place andperfeoted his style, should
always be sure OF a place; but a man who
is growing frequently changes his whole
style in later life. That was the case, as
you know, with Turner. His utter change
of method In middle life is one Of the turn
ing points Of art In the nineteenth century.
II happens often that a man makes such a
change into q method that is likely to be new
out which will not be recog nized at first,
any more thanthe work OF a young Whistler
Ia recognized. | carried it through on
their behalf, not on ours.
Its a long time ago. and one may speak
freely of IL now as he couldn't then. And
now we nave grown up and amalgamated
with the very society which we were formed
the young and original men who are
struggling for recognition to do the same
thing"