Art class

“ We may proceed in the same manner through the comparatively inferior branches of art. There are, in works of that class, the same distinction of a higher and a lower style; and they take their rank and degree in proportion as the artist departs more, or less, from common nature, and makes it an object of his attention to strike the imagination of the spectator by ways belonging especially to art—unobserved and untaught out of the school of its practice. ”

“ There [121] was art for art's sake, music which had only that one aim of being beautiful, and in this he included art for technique's sake. The other class was art for the expression of an idea, in his opinion the higher form of art, though he admitted that his opinion mattered very little. Only these two classes of artists counted at all, and it was the public's, not the artist's, duty to decide who could be ranged in the one or the other category, and who was not to be counted in either of them. ”

“ EDUCATION IN TASTE
There is a naïvely systematic way of teaching artistic appreciation to the students of many of our city schools. To each class is allotted a famous painter. The class is then taken en masse to the art museum, and, under the guidance of one of the official show-women, confronted with the masterpieces of its proprietary genius. ”

“ The distinction between the representative arts and the arts of form is not ultimate, nor does it exclude one class wholly from the other; it defines a general tendency and serves to mark certain differences in original motive and in the way in which the two kinds of work may be received and appreciated. ”

“ The sketch class, the portrait class and the class in composition are open to all students. Much interest has been shown in the composition class, and good results have followed, the stimulus here given being on the literary and poetic side of art. ”

“ To the class of formative arts belong architecture, sculpture, and painting as the art of design. A third group, the art of the beautiful play of sensations, includes painting as the art of color, and music, which as a "fine" art is placed immediately after poetry, as an "agreeable" art at the very foot of the list, and as the play of tone in the vicinity of the entertaining play of fortune [games of chance] and the witty play of thought. ”

“ Every operation in the arts should be perfect. It has to be so in most arts, from violin-playing to circus-riding, before the artist dare make his bow to the public.
Placing on one side the question of the higher grades of art which depend upon special talent or genius—the great qualities of imagination, composition, form and colour, which belong to mastership—I would now, in this book, intended for students, dwell upon those minor things, the doing of which well or ill depends only upon good-will, patience, and industry. ”

“ One can imagine what an infinity, what variety and richness, of details it should contain.
Our subject presents, at the same time, another kind of interest more elevated and not less alluring. Here each Art appears in its different phases and in its diversified progress. It is a history, not alone of the Arts, but of the epoch itself in which they were developed; for the Arts, regarded in their generality, are the truest expression of society. They speak to us of tastes, of ideas, of character: they exhibit us in their works. ”

“ By this disposition of our art into classes, that perplexity and confusion, which I apprehend every artist has at some time experienced from the variety of styles, and the variety of excellence with which he is surrounded, is, I should hope, in some measure removed, and the student better enabled to judge for himself what peculiarly belongs to his own particular pursuit." Besides the practice of art, the student must think, and speculate, and consider "upon what ground the fabric of our art is built." ”

“ Nor would painting merely, but all the other arts also, be the gainers by a change such as that which I propose; the gainers, I mean, through the increased atmosphere of Beauty by which the artists would be surrounded and in which they would grow up. For Art is not to be taught in Academies. It is what one looks at, not what one listens to, that makes the artist. The real schools should be the streets. There is not, for instance, a single delicate line, or delightful proportion, in the dress of the Greeks, which is not echoed exquisitely in their architecture. ”

“ I then and there made up my mind that if it ever came my turn to instruct young students I should endeavor to teach them those things for which we painters of the older generation had to grope blindly for years, unaided and in the dark—things which are of equal value and importance in a picture with good drawing, good composition, and good color, but which, for some reason, have never been taught in the regular art schools. ”

“ Now, I believe that (irrespective of differences in individual temper and character) the excellence of an artist, as such, depends wholly on refinement of perception, and that it is this, mainly, which a master or a school can teach; so that while powers of invention distinguish man from man, powers of perception distinguish school from school. All great schools enforce delicacy of drawing and subtlety of sight: and the only rule which I have, as yet, found to be without exception respecting art, is that all great art is delicate. ”

“ If then every art school which the world has hitherto known, has been in some way partial in its choice of subject and the aims it has proposed to itself, let us think which partiality is the least blameable, and, in fact, what is the best thing that a painter can give us. Is it perfection of form, or of colour, intensity of feeling, or depth of meaning? If we can't have all, what should we choose first and cling to most securely? ”

“ I do not, indeed, ignore the fact that there is a school of artists belonging to this decade who set forth that beauty is not an essential part of art; which they consider rather as an instrument for the statement of fact, or an exhibition of the artist's intellectual observation and skill of hand. Such a school would seem at first sight to have an interest of its own as a genuine traditional development of the art of the eighteenth century, which, like all intellectual movements in that century, was negative and destructive ”

“ Finally, schools of pictorial and plastic art, of architecture, and of music, will offer a thorough discipline in the principles and practice of art to those in whom lies nascent the rare faculty of aesthetic representation, or the still rarer powers of creative genius. ”

“ This can only be acquired by him that enlarges the sphere of his understanding by a variety of knowledge, and warms his imagination with the best productions of ancient and modern poetry.
A hand thus exercised, and a mind thus instructed, will bring the art to a higher degree of excellence than, perhaps, it has hitherto attained in this country. Such a student will disdain the humbler walks of painting, which, however profitable, can never assure him a permanent reputation. ”

“ For that power, which enables the Artist to conceive his subject with dignity, may be said to belong to general education; and is as much the Genius of a Poet, or the professor of any other liberal Art, or even a good critic in any of those arts, as of a Painter. ”

“ It is not an easy task to point out those various excellences for your imitation, which lie distributed amongst the various schools. An endeavour to do this may perhaps be the subject of some future discourse. I will, therefore, at present only recommend a model for style in painting, which is a branch of the art more immediately necessary to the young student. Style in painting is the same as in writing, a power over materials, whether words or colours, by which conceptions or sentiments are conveyed. ”

“ And, the commonplace character of so much of our English painting seems to me due to the fact that so many of our young artists look merely at what we may call ‘ready-made beauty,’ whereas you exist as artists not to copy beauty but to create it in your art, to wait and watch for it in nature. ”

“ But such of us who move in these humbler walks of the profession are not ignorant that, as the natural dignity of the subject is less, the more all the little ornamental helps are necessary to its embellishment. It would be ridiculous for a painter of domestic scenes, of portraits, landscapes, animals, or of still life, to say that he despised those qualities which have made the subordinate schools so famous. The art of colouring, and the skilful management of light and shadow, are essential requisites in his confined labours. ”

“ They must put their own consciousness into a picture. At the dawn of this stage of appreciation the esthetic tastes should be stimulated by exposure to, and instructed in feeling for, the subject-matter of masterpieces; and instruction in technique, detail, criticism, and learned discrimination of schools of painting should be given intermittently. Art should not now be for art's sake, but for the sake of feeling and character, life, and conduct; it should be adjunct to morals, history, and literature ”

“ It is only of late, and chiefly by a superficial imitation of foreigners, that we have begun to use the word Art by itself, and to speak of Art as we speak of Science, or Government, or Religion: we used to talk of the Arts, and more specifically of the Fine Arts: and even by them were vulgarly meant only two forms of art, Painting and Sculpture, the two which as a people we cared least about—which were regarded even by the more cultivated among us as little more than branches of domestic ornamentation, a kind of elegant upholstery. ”

“ The French classical tradition in sculpture and painting, which is not merely academic, having become a part of public taste, prevented the production of the frightful crudities which passed for art in Germany and England during the present and past centuries. By helping to create a freer and more intelligent atmosphere for the artist to be born and educated in, and finer demands upon him when once he has begun to produce and is seeking recognition, the student of aesthetics may indirectly do not a little for him. ”

“ Under these circumstances it becomes interesting to inquire just how much the young painter may accept with safety from his master; in what manner he may best acquire the thorough and intimate knowledge of technique which is so essential to his success, without sacrifice of that personal integrity which is still more essential. Let us at once concede the fact that there is no perfect system of art instruction. ”

“ Skill, and beauty, always then; and, beyond these, the formative arts have always one or other of the two objects which I have just defined to you—truth, or serviceableness; and without these aims neither the skill nor their beauty will avail; only by these can either legitimately reign. All the graphic arts begin in keeping the outline of shadow that we have loved, and they end in giving to it the aspect of life; and all the architectural arts begin in the shaping of the cup and the platter, and they end in a glorified roof. ”

“ And yet, I say, how have we of these latter days treated the beauty of the earth, or that which we call art?
Perhaps I had best begin by stating what will scarcely be new to you, that art must be broadly divided into two kinds, of which we may call the first Intellectual, and the second Decorative Art, using the words as mere forms of convenience. The first kind addresses itself wholly to our mental needs; the things made by it serve no other purpose but to feed the mind, and, as far as material needs go, might be done without altogether. ”

“ In furthering the work of the first group, the topics so familiar to the art teacher of our modern schools are treated—landscape, plants, life, and still life. In the second group are presented the principles of perspective, of industrial drawing, of color harmony, and most important of all, the principles of pure design. In the third group are placed creative exercises in composition, in decorative design, and in many forms of manual training. ”

“ If ever there were models of the Fine Arts fitted to give an impulse to living genius, these are they. [34] With enough to teach the truest, highest style in art, they are not in sufficient numbers or preservation to distract or discourage emulation. With these and Nature for our guides, we might do something in sculpture, if we were not indolent and unapt. The French, whatever may be their defects, cannot be charged with want of labour and study. ”

“ So long as we neglect higher esthetical culture and training in our public schools, our academy will but reflect this neglect. In reviewing the past I have throughout endeavoured to show the close connection of art-forms with the general, social, religious, intellectual, and moral conditions of the different nations and periods in which they appeared. It is erroneous to suppose that art has only to treat of straight or waving lines, of triangles, squares, and circles, of imitations of flowers, animals, and men, of nature and nothing but nature. ”

“ My present task, however, is not to waste time going over the indifferent works in the Gallery, but rather to point out, as they occur to me, those masterpieces, the studying of which may educate the mind of the outsider to whom Art is a mystic term, and advance the student in his education as a painter. ”