The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-11-29
IN Impr"ssi"ni.t without Violence.

Art IS a personal matter from be
ginning ia end says DUNcAN phil
LIPS, introducing his genial chapters on
IN" FHChdnfWcW Of irf l.aneb. our
know edge Of things is the result %, a
long series Of Impressions. which ace
Cording 20 the id.osyncras!es or tenn
permanent are inchudtr and confusing
or sorted over, classified and arranged
mentally in order. But for every ad-
Nenturer in the world "impressior" =
tn" source Of those mult:tudinous ex-
poricrces beliefs feelings" that con-
st.tutc the individual personality
The senses a" not report. register"
alike for all; and art il the cultural
means Of comparing notes" In seeing.
Interpreting and giving hack what 10
secs the artist Is cNpr, ssiug himself
Although ar. without rules Io moct tho
:n"umcr1hle sorts and uuanccs ~ taste
w"u.u hc anarchy. SIb,ery.cuge TO
school involves sacrifice of sincerity.
lht"er'tN of vision is contaminated N
honesty - EXPRESSION. The mould. tho
patti, IN. squeczes the salt ont OF the Soc
ms r"Nor;ire personality. New mon
iind new meanings in tho world We are
not rs the classic Greeks Their deal
beauty should inspire hut not control
our art, There j. oven nationality i'm
art for there are types in national no
less than in individual character. What
Occidental can reproduce more than The
manner tho t'chnic Of Japanese paint-
ing" We may learn from Japan the
advantageous possibilities Of a union 81
''r"pro sentative" and docorational de-
sign. hut IL would be silly to ATTEMPT
to evoke in Western subjects the Orlcn-
tai genius. Rene Menard'S pictures are
ThcoCritan hut his landscape j. not that
Of the Scilian poet; It is the ancient
spirit running on into modern forms
a thing !nenaby superior 30 rhetorical
reproductions OF sleek Aphrodites"
Modern art that cannot keep Greece
and Italy confined in the back chamber.
OF tho consciousness while working ~
corrupt Pseudo ella ssicism is this g.
sayist's bette noir
Do not mpressionisticallyD conSider
impressions as "a newfanglcd French
way OF spiashng paint on good cam
vas Real inpressiOnism Is not matter
of technic at all but the one true
philosophy Of painting" Concern seems
to bc less with tho practice " painters
than with the vocabulary. The French
r"hcls may paint as they please. hut the
critical crusader rcSents the degrade
ton of diGnitiCd word to the function
OF trademark for patented article. And
when II comes to Cuhism Those Who
cannot excel in the momcntarv ronven-
tlonal 10 say nothing " projecting tho
permanent orthodox along new lines.
they who .trh ana scratch and itch tho
more until aspiration becomes a frsn2y
and inspiration insanity, they can al
ways storm tho heights and carry an
outpost or two 10y DOMINIC masquerade
armor and heating unholy rataplans on
their tntnnabuant inveStiture TO
Brighten timorous portions of tho gar
rison ~ buttr"Sscd reason. \ single
Cuhist would have been clappcd into
the handicst asylum. hut n hundred in a
mock looked to the nervous like an i'm
portant movement, to be taken So
riousy. II is disGraccful. il is colo--
sally divcrting hut there are those who
yield themselves up To the superlativcly
miS,hioVOus lntoNiCation of "A "Nude
Descending the stairs" or "A Walpurgis-
uaCht ,dcIcumposition in the "stvlc"
OF "Tcnd"r Buttons" In contrast with
all this European frcakishness the
American painters are rcfrcshingly COM
nonsense; ana the difference is not the
Autocratic one Of the squirrel (wasn't
it") and tho sleek domestic tahhy as n
pet to be held on the lap.
Mr.. Phillips likes our native paint
crs. and can give a reason. His
volume Is moi quite book but
II is something moro than string
80 rSsayg. Hts ,alt NJ impross,on-