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design of any of the Ukioye-e masters and rapher. These laws are all compact of the to substitute for the Japanese conventions sense and experience of modern artists in modern long-focus lens, gum-printed, pic- all media. They do not disdain Hokusai torial conventions, of the same essential nor do they ignore Muybridge nor the import and generally congruous – well! pictorial fluxions of our modern Sir what would be the result? Virtually the Isaac - to wit, the sage of Menlo Park. same as the original print. The transition They take into account the virtual idenfrom one scheme of conventions to another tity of the truths of light seen by Eduard
has in no wise metamorphosed the essence Manet and synthesized by Lumiére et ses which made the design excellent in the Fils. mind of the master.
It is absolutely preposterous to think The recent progress in photography that the fine arts can stand still without which is the provocative of this article has contracting necrosis or suffering atrophy. two limbs: The one technical, concerned The cocksureness which denied the theory with the development of suitable, flexible of variation and heredity – evolution, in and universal processes, and the devising a word - because it was humanly imposof amenable apparatus; the other legis- sible to prove the premises, cuts a very lative, if we may so say, being concerned sorry figure these days, with the Gresham with the definition of certain new laws of professor of applied mathematics proving pictorial conventionality to meet the spe these premises in his London laboratory, cialized requirements of the Salon photog- and Doctor Davenport proving them in
tographs of the liquid fire and sublimated rubies which pour over the Wooded Island at Jackson Park almost any evening in August.
The more one knows about the ancients the less he admires the ancients and the more he venerates and adores the magnificent thaumaturgy of Time, by which supernal magic they have been made to appear so transcendently great. And then how much
a live modern appreciates modernity when he contemplates in parallel a Greek Herakles and St. Gaudens' Lincoln, or when he compares a Hobbema landscape with a multiple gumprint by the Gebrüder Hofmeister, or when he looks at Alvin Langdon Coburn's “Notre Dame de Paris” side by side with any of the Lake Biwa series of Hiroshige.
The ideal of individual culture which has obtained respect among thinking men is that which proposes for
each the highest development A Japanese Print by Misses W. and G. Parrish
he is capable of attaining in
as many departments of life his corn studies at Urbana, Illinois. Like as his brain and spinal cord have inferent wise the “thus-far-and-no-farther”' school and efferent agencies to essay and sustain. of artistic thought must be vastly dis Perfection of attainment is not to be exmayed to see, with the eyes of the flesh, a pected often when the ideal is so high, but Lumiére autochrome, three-color, potato we have Rabbi Ben Ezra's solace – "The starch plate putting Turner to the blush man I yearned to be and am not as a percipient and recorder of color sen comforts me.' sation.
And herein we find the analogue of the As we have said before, empiricism got spirit which is motive in the pictorial its coup de grace when gentlemen deficient photographic movement of this year of in reverence but armed with the higher grace. Not a man or woman of mature mathematics began to apply the calculus mind and earnest heart who sallies forth to the sacred shrines of popular idolatry. with a camera on the gray-blue days The Slade professor spoke from a very which Bastien-LePage and Hiroshige and safe vantage point when he exalted the Whistler equally loved, is without absocolorists to the rank of archangels and lutely the same quality of artistic intenavatars. It is another question what Mr. tion that any of them possessed, though Ruskin would be compelled to say of the voltage of the intent may be lower and Tintoretto and Titian if he were to pass the amperage smaller. The difference is a day or so in the laboratory of Pére only of degree, not at all of kind. It is Lumiére at Lyons in France, or if he
hard to believe that anything but pure might have seen our own John Powrie cant can assert that Steichen's photograph with his three-color rulings, making pho- of William M. Chase is inferior to Fantin
Latour's “Manet." It is a truism of mineralogy that color is the least characteristic and most variable property of crystals. The fundamental forms and goniometric constants are absolute to the limits of our means of measurement. And so in portraiture everything is secondary to the soul which informs the effigy. Monochrome is nothing, color is nothing, pose is nothing, effect is nothing, except as each and all serve to reveal that most amazing of the works of God, the vital, motive, overwhelming, majesty of the soul of man.
Monsieur Lumiére's spectroscope and the Elberfeld analin-fabrik conspire to give you any color to a wavelength of light. Schott and the Jena opticians conspire with the chemists to provide the perfect means and media of unerring monochrome. They are nothing. But lo! cometh the artist, seeing in nature hints of all possible pictures as the musician sees in the keyboard hints of all "Midwinter" by Edward Brown possible harmonies; seeing in the human form that wherewithal he in abundance photographic prints so conmay declare the nobility of human en- summate in design, so veracious in natural deavor and the divinity of human destiny; fact, so subtle in their appeal to the emoseeing in the blaze of noonday or in the tions that if Rembrandt van Ryn or mists of evening themes which may make Hiroshige had seen their like we may conthe hearts of men pulse with a purer de- ceive that neither would have scratched light than is found in counting-rooms; copper or graven wood thereafter, save in seeing in the cañons of the cities and in the way of hopeless emulation. ghetto purlieus beauties of form, balance, Modern science has given us the means; design and proportion such as the gods modern enthusiasm and world-wide coöpmight envy if envy were of the gods eration have developed a community of and then ? Ah, then, you begin to be method or the technic of a distinctively awake to the fact that we are in a new era, modern art - that of the pictorial photogguests, as it were, at the silver-wedding raphers. Only one thing is lacking: We anniversary of Science and Art, touching must develop great men endowed with the elbows with men and women old enough to sovereignty of supreme ideals. remember the nuptials, young enough to And if Professor Fiske is right in his survive for the golden anniversary when statement, the present century ought to it rolls around; in an age of triumph for see born upon this planet, the master of exact knowledge and of discomfiture for masters in graphic art - and a Salon
HE sculptor's art is seldom asso have made a reputation for themselves
ciated with womankind. The there are some very poor sculptors. It is inherent ruggedness and force only during comparatively recent years
of sculpture seem to suggest the that women sculptors have been able to work of man. In the remoter past there produce work that is entitled to praise in were almost no women sculptors. Among the annals of American art. the 225 sculptors mentioned in Taft's It is significant that among the few “History of American Sculpture,” only women sculptors who have won recogninineteen are women. Not over three or tion for themselves, a large proportion four of these have achieved any degree of are from the West. Even among the earsuccess. There were only seven women lier group, Harriet Hosmer came to St. mentioned among the members of the Louis to study, and Mrs. Vinnie Ream National Sculpture Society, in its 1906 Hoxie, whose works may be found in the catalogue. Moreover, of the women who Capitol at Washington, was born in Mad