The Montgomery advertiser., 1909-12-18
DISCUSSES DUTCH ART
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Addxess is Firut ef Thrss by Noted CSatae-seesna W1lI De Delivered
 snturaay Afterneon ana
 Uvansng on Whistler.

Montgomery art students know bet ] ter how 10 appreciate Dutch art of the sevsntsenth century sipce they aeard ths & isSsnrs % sf ca,ssss n A Cam n,, ss ,hs .hs nrst on the ssasou'e tyceum program. Mr. Cam is B. 4. Of oxford and ia widely known as au authoritative crit ic of art and the drama. He is the author of nearly dozen volumes treating thoroughly the various | branches and epochs In the history of art.
 MT. cafsin. in the first lecture of the three he is scheduled to deliver in school of art and diiated on the Dutch art of the seventeenth century. He was introduced to the audience by the Rev. Henry N. Edmonds. pastor of the First Presbyterian Church, who pro- claimed him an art critic whose pub- lIshed works are not unknown among Montsomery's contingent of art stu dents"
 The speakers introductory talk on art in general was quite as interest- Ing. apparently, to his audience as was his more precise interpretation of his central theme
 Art he said. ~is only another word for beauty. Every one knows art. Even the most ordinary man Is an un- conscious student of art. When 2 merchant decorates his new store, 1t is his pride, his admiration of beauty, | that tnsptres him, not merely vulgar zeal to attract business.
 Even many of us who openly study art in It's many ramifications. are at l times hampered by false modesty that prevents sincere study of great sub | jacts. For instance. there are some who deny themselves the correct study of truly great play dealing with the
 sex problem by virtue of its very subject really pale under the bril- l liancy of it's art. A great many of us are suffering under the incubus of l false modesty. It is the heritage of Purtianism, that suppresses art" After historical resume that led up to his precise subject. Mir. Cafiin told of the effect of the Renaissance on various schools of art. and especially on Dutch art of the seventeenth cen- tury. Before the Renaissance. he said, art in general was founded on the su- premacy and glorffication of man. Af- ter the awakening, man was no longer the pin of the universe. but he was ! treated by artists in a more scientific | way. in ais relation to his environment. Thus we have the genre pictures
 of the seventeenth century Dutch. The
 | portraysis Of domestic life of that l century have act been equaiied since
 | by any school. Tte Dutch. also. first
 ! recognized the landscape as worthy in
 itsalf, and not merely as . background
 | for the main thame. The beauty of the Dutch art of that time consisted,
 | too, In the artist's translation Of the
 | subject appearance in tonal scheme
 ] The actual figures of painting were not stressed, but their Identification
 was the artists aim"
 The lecturer explained the effect of | lights and shadows SO artisticaily used | by the seventeenth century Dutch
 l painters, and credited the origination
 | of the scheme to Rembrandt. He
 ! characterized the name of the great
 | impressionist painter as "the greatest
 | in Dutch art and one of the greatest
 | in the world"
 | MT. Calm was heard by a fair sized l audience Friday evening. and larger
 | crowds are expected to near him Sat I urday afternoon and evening, when his
 subject will the English painter, Whis- | tier.