The sun., 1916-08-20
soME NEW BOOKS.
mn An 70 tAe Art 0tuAsnt.

at ssospt when clipping Ms coupons
-~psns Q new book at haphasArd and
souss upon the following passage he
u spt TO begin at the beginning. The
ssok happened to be Tho Appeal OF
~ Piotxye: an Examination Of the
Principles Of Picture Making. by FRED
NIX COLIN TnNEY New York: z. p.
button and Company. The passage
alluded to Is IN page 81 In the chapter
Asvo,ed TO composition:
" have seen that naturaiism 10 ep-
,sssd 20 regularity. We may be allowed
u ssks tbs obvious further step and say
.Aat ssnventionaiism 10 opposed to irrsgu-
,s,,ty. Mans brain and hand are maths-
usnsai IN method. and man has to 20
1siiSsratsly out Of his way to simulate ma
s.s> Should he have to divide q thing
iste Sarts. his nrst idea Is TO divide II
automatically; for. with no call to do
sthsrwiss. that seems to him the proper
~. He can succeed nowadays to q hairs
Ncadsh with the aid of machinery; bu,
a ola, when his hands took risks. his
vs,k vas suhaciently unmathematicai to
arouse the sympathies Of his fellows. II
ss,teok Of the principle Of similarity with
Adherence. Nature herself makes her
Ssst effects that way. Her plans are
mathematical enough; but she 10 20 kind a
mother than che allows her children II.
ssass. Plants do not grow under . glass.
Crystals are full Of faults. Every face 10
ihs rs ne,ehbor in plan. but vastly differ
st in the eyes Of lovers and parents.
We are prone to believe that the
sDsws quotation indicates the plural
stio tendency Of the writer. and we
think Il would have pleased the late
william James. The brain patterns
with which mankind has been born
have enabled him to make In the
abysm Of the past the grandest Of all
discoveries: Time and Space. 1t is a
man thought as we'll as a man made
world; though this idea. set forth with
crystalline clearness by James, may
not please ambitious minded ladies.
With these cerebral patterns We ap-
prehend the visible and invisible uni.
verse. And man fashioned his life
art, literature, music-after them. But
there must be a slight escape. n devia-
ton from the so-called normal. and
that irregularity makes existence
worth the while. It's mastery-the
knowledge OF this leak" in the math-
ematical rigidity and determinsm Of
natures laws-is again a masculine
intellectual prerogative.
Mr.. Tilney Is an English painter
who has taught. lectured and written
art criticism. He Is eminently prac-
teal. His big volume may he con
sidered not only first aid to the art
student but also as a valuable contri-
button to the scanty literature Of
common sense in matters Of art. and
as such is valuable alike to anna
tsur and professional. His book. he
says In preface. has been written with
moro than one end in view: Com
currently with technical exposition 1t
offers explanations of the falling away
Of popular favor from the painted pic
ture, snd it forms an inquiry into
the principles Of the works that have
enjoyed that favor in the past
80 He adds: For whom are pic
lures painted? For the public or for
psinters:" He believes that the mar
who paints only for himself Is do!ng
laboratory work. and the public mus,
not be blamed for not. recognizing a,
once his merits. Pictures are dis.
played to court criticism and win ap'
proval. Is. then. the case Of the re-
searchful eXperimenter a hopeless me
By no means; but II may he a pitiablt
one. He is on the same footing al the
poet and the musician, working reall!
In abstract ideas. and. like them
powerless to do aught but attempt thu
formulation OF those ideas and pre-
sent them for the public either e
take or to reject. Poets and must
Cans and scientists too have beer
martyrs often enough to their cause
and in their ranks are numbered thu
experimental painters: but the paint
ers who work with easy application
OF principles we'll confirmed and widel!
understandable Rubenses, the Rey
noldses, the Menzels-they are not mar
tyrs; they are the favored of fate.
II is admitted that there Is equa
work in life for both classes of paint
ers, and that one is no more nobl'
nor ignoble than the Vther. To TAX
an analogy from the faculty OF mcdi
cine. We may say that the genera
practitioner is the equivalent OF tn
man who paints to minister to tn
iced Of his clients: while the expert
fnentalist. whose work Is research an
who makes no direct appeal to pa
tents. he Is the equivalent OF tn
painter with a quest in his art. VIII
works from impulses within hin
rather than from the incentiv
VI a clientele. The former class in
c.ude Raphael. Rubens, Reynolds; tn
latter. Monet and Whistler. TIL
giants In art are in both classes. They
100. ara pioneers. and so powerful an
20 right that even as they break ne,
ground they are acclaimed by the pco
plscRembrandt. Velasquez. Turner
II y characteristic Of the two classe
that the m finds honor during life
tne other has It after death. when. a
Soo Acres remarks. n could yer
vsu make a shift TO do without 1
b GIANTS have II both first and las