The sun. [volume] (New York [N.Y.]) 1833-1916, 1907-12-01

Spain an d In the wonderful Prado Gallery
OF Madrid, In he queer. quaint streets
OF the old Spanish towns. where One cannot
step aside into house or shop without find
ing some wonderful treasure. 1 said to
myself again and again: The reason this art
10 90 great Is because the people who pro-
duCsd Il knew 1t as only they could. They
simply painted the sights and scenes Of
their daily existence.
They perpetuated not only the spirit
OF their times. but the habits. costumeaand
customs. They didn't go 10 other countries
70 paint; why should WEI We have a life
just No full Of color and romance and charm
as they had. IND II We ever get so we can.
stand on Dur wi feet. II We realize that
We don't have to follow and adapt and
adopt in order to be great painters. why.
VI have gone far toward the goal OF "A
great national art which will be as wonder
full as any ever produced in the world in
time.
"The only thing We lack is appreciation,
n we must AVE that to back US before
We 20 very far. The character OF the aver
age American business man is close shut
against art influences and art education.
He doesn't know and he doesn't want to
know.
He shrugs his shoulders when you begin
10 talk 70 him and locks as bored as ne 10.
That rs practically our only handicap at
present. The public must be educated
before We can do very much.
"A great deal Of complaint is made that
the American artist prefers 10 live abroad.
don't believe he does, but when he is frozen
still by c~ongealing influences he naturally
seeks a place where he can thaw out.
And IL is a shame, for we have every
thing here. everything. II a painter wants
color he can get in New Mexico and Arizona
more wonderful atmosphere than he could
get in Egypt. II he wants native types,
what about the picturesque Hopi Indians
OF the Western prairiesp
III he wants something big and rugged
lot him go to the frontier OF Canada. He
can start at our Eastern coast and on his
way TO California find everything he can
possibly desire al fitting subjects for his
brush and imagination.
Personally I am more interested in
portrait painting than in anything else.
but l distin guish the work l have In mind
from the so-caIled society portraiSure.
The latter has only artificial values; it 10
a phase Of art where the sense Of distinction
10 entirely lost and the accessory is nade
prominent at the expense Of the individ-
uality Of the sitter.
The perfect fall Of a rufle is depicted.
the sheen Of a patent leather slipye r, the
CLEAN Of a jewel. the arrangement Of a fur
stole or the tilt Of u hat brim-but the soul,
where il IL? Take the pictures Of portrait
painters Velasquez or Van Dyck. They
painted accessories. they portrayed the
intimate caprices Of their patrons in their
dress. but you are conscious all the same
that they are accessories.
They do not absorb -FOUR attention; they
AMPLY help you to a realization Of the
character Of the subject in which they fulfil
their destiny. Those old portrait painters
weren't simply absorbed by bonbons.
frills and hufs TO the exclusion of every
thing else. which IL would seem a portrait
painter now must be in order TO please the
tasts OF the class whose portraits are
painted in large numbers.
Speaking Of the work Of Velasquez
brings us back again 10 the keynote-the
portrayal Of the joyous. harry moods in
nature and humanity. He was a shining
! example Of that creed.
+, "Velasques was q painter Of the happy
moods and moments. just as Vatican was,
but wieh q difference Vatican portrayed
a frail ~finesse, Velasquez a powerful ele-
gance. Perhaps We should feel even moro
grateful to Watteau. for he suffered hor-
ribly
'He had terrible reverses In his life and
finally died Of consumption after years Of
suffering But think Of the world ne created
about hirnself n the world he created for
others. There 10 not one note or suggestion
Of any m~orhidity. Of any pain or dread,
always the full. perfect m Of happi-
ness- ,-