Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-01

of the American painter Of the day. how
shall we account for him; to what do We
look for causes for this marked change
from amateurism to professionalism? a
few years ago young generation or
painters came back from the schools OF
France and Germany. bringing with them
the rediscovered principles of art and the
adequate methods OF expression tnat have
since characterized the art workers OF
America. Since that time the American
art academies have rapidly and effectively
taken up this work begun by the Foreign
schools and now have an important part
in this output OF professionalism.
Young Students of Art.
There is an enormous mass Of young
people in our home schools giving them
selves up to the study of drawing and
painting. Few in this mass are likely to
achieve a professional standing; many
will fit into various minor places in the
general scheme of art Industrial. illus
trative and commercial phases will fur
nish opportunities for the varying de-
grees OF skill developed in the academic
schools. large number will return TO
their homes to give intelligent instruction
in local schools or classes, but the ma
jority will drift back into the various
activities OF American life, carrying with
them, however. an increased or awakened
interest in art and nature. an aroused
love Of the beautiful that will affect the
lives Of many individuals, add an esthetic
charm to innumerable homes. and grad
ually form an appreciative environment
for the trained painters of the time.
The question naturally arises: Has all
this mass of academic effort been UNI
necessary? Could the comparatively small
number OF ultimate art warkers have
been more economically trained? Was 1t
wise to direct all this outlay and effort in
this direction? l believe it was and Is
wise because I see in this broadly or
ganized and intelligent conduct of the
academic school influences that cannot
be measured by the measures of profes-
sionaiism, that pass into the vital life of
the race; that affect its thought, its as
piration; that elevate its ideals. that
widen, to quote q great orator. its hori-
ION.
I'VE are blind creatures at the best;
we grope where we should walk erect.
We are unconscious of the beatitudeS or
common life We became pessimists
through materialism and for lack of the
perception Of and the sympathy with that
which passes before our eyes and lies at
our feet.
Refers to Probabilities.
But, to deal more directly with the
probabilities OF art education. let US con-
slider certain conclusions that result from
a serious and thoughtful study of mental
development in art. The great masters in
art are few, but they emerge from a null
titude OF workers. Genius must be COM
panioned, I may say. by many lesser
talents that build up to II and sustain It.
Take an original painter like Corot. for
instance. While no other man may have
given expression to his particular kind of
perception, no doubt there were many
half formed ideals like his simmering in
the minds Of other painters. Such a
~Hr 20 W
reaction, and we may be sure he was but
one Of many who were more or less dis
satisfied with existing conditions In cur
rent landscape art. The point / wish TO
make is this: AS nature sows her seed In
lavish profusion, trusting to the quicken
ing OF the few seeds, so In art develop
ments we must provide more workers
than can possibly be expected to achieve
success We know, of course, that all
these concerted efforts In art study may
not necessarily lead up to a great genius.
There are periods which may be called
academic periods, periods OF excellent me-
diocrity. There are periods OF dull acad-
emism, when formulas count for more
than principles, when pedantry takes the
place Of emotion, and there are periods
or schools In which the academic idea is
fouted and erratic personal impulses lead
to strange and divergent outbreaks.
Just now In France, in Germany ana In
Italy there are anarchial outbreaks pass
ing beyond the confines of sanity. or one
thing We may be sure: An art that recog-
nizes no law or principle. that simply FOL,
lows the whims and fantasies OF debased
or decadent minds. is something to be
passed by in silence. We may well recog-
nize, once for all, that this universe Is
controlled by law. and that there are
principles in art which are fmmutabie,
enduring-which hold in coherency all It's
manifestations. The sober thought OF the
ages recognizes this. The academy In It's
right estate conserves these principles
and stands as a buiwark against anar-
chiai assault. q defense against decadent
alterations.
Duty Of the Academy.
But the academy must be mindful OF
those changes in the spirit of the times
that specifically differentiate periods; OF
the changing points of view. that follow
the fuctuation of normal thought. The
perception Of one period differ from those
of another period through changing hab-
it's of choice. The natural aspects OF
nature are specifically varied. A Corot
perceives or is interested in one class OF
impressions, a Rousseau in another, ana
both have true perception OF realities
The academy, then. needs TO main
tain a certain degree OF dexibility In It's