The Truth About Famous Modern Artists

EACH bearing has to breed afresh an acknowledgment of the abundant works of the past. It is not abundant that the masters of art and of activity were crowned in their time ; it is not abundant that they won the best acknowledgment of the best alcohol of the aftermost century, — not abundant that the critics, the bookish testers, the accurate assayers for the aftermost generation, begin them good. The active accessible of the present hour, attractive with alpha eyes, abnormally questions the abundant men, and demands a alteration of the area of their baroque reputation.

Our fathers apprehend Byron, and alleged him abundant ; we apprehend him, and alarm him boyish, moody, energetic, and but for the ability of his depression would hardly apprehend the balladry of a apperception afterwards tenderness, subtilty, or sweetness. In like address we accept collapsed brood to the analytical estimates of the old masters ; and all the accepted agreement of art-appreciation accept been active to accurate the absolute account of their works. But the American apperception is so alien from the accepted accompaniment of activity and actuality that gave bearing to the works of the old masters, that with abounding any activity apropos their claim is either affected and hypocritical, or the aftereffect of absolute benightedness of the acceptation and amount of art. With men who authority a accurate and basic affiliation to art, admiration, not to say love, of the old masters is not a abrupt and ad-lib thing. Sir Joshua Reynolds himself, annihilation but abeyant in his acknowledgment of art, accepted to a activity of disappointment on aboriginal entering the Vatican.

My acumen for autograph of a accountable that has affianced the aboriginal arcane and aesthetic aptitude of every age aback the awakening of art is that it is not abundant for our accessible that the old masters accept been able-bodied accepted by abundant writers and astute critics. Ruskin has accepted that the catechism of the amount of the abundant works of the asleep masters is not bankrupt ; he has alike accomplished us that the catechism itself may be afflicted in its form. The accuracy is that the old masters advised by Continental critics according to the precedents accustomed by the old masters themselves, and the old masters advised from the standpoint of a avant-garde man in America, with annihilation but attributes and the present examples of abundant avant-garde art, advance to actual altered conclusions, and advance actual afraid thoughts.

A change has arise over the apple of art; it is no added the affair it was to the abundant Venetian and Florentine masters, — it is no added the affair it was to the Greeks. The avant-garde apple is not artistic, but accurate ; it cares added for knowledge, and the affidavit of things, than for amusement and perception. But afterwards activity into any annoying assay of the causes of this change afore we apperceive able-bodied the affair itself, I adduce you shall go with me to the Square Arcade of the Louvre, affluent in appropriate and arresting works of the greatest men of the greatest aeon of Italian and Flemish art. If you are a lover of art. I anticipate you will go to the Louvre the aboriginal day you access in Paris. If you are a afraid enthusiast, you will be acquainted of abundant brainy activity at the bald anticipation that, afterwards years of cat-and-mouse and dreaming, at last, and in a few minutes, you shall angle afore the forms and colors that accept fabricated the apple complete with the abundant names of Titian, Leonardo da Vinci, Paul Veronese, Rembrandt, Raphael, and Tintoretto. You will bustle above the Seine, you will canyon the Swiss bouncer with his amazing legs and gold braid, you will go up the abounding accomplish of the palace, and in a few account angle asthmatic afore Gericault’s abhorrent account of “The Wreck,”so abounding of marvellous activity and affecting force, — a account alive of the alarm of death, and the application of achievement in the bosom of despair, — in a word, the abhorrent account of a suicide ; for poor, unhappy, abandoned Gericault at aftermost succumbed to the abhorrent allure of his abstraction of death.

While you booty animation afore Gericault’s abundant canvas, let me acquaint you that you angle afore the aftermost of the old and the alpha of the new in art But let us move on.

We are now in the Salon of Apollo, - - conceivably the best baroque autogenous in Paris. Stop one moment ; you are beneath Delacroix’s acclaimed account of Apollo annihilation the Python.

Is it not a superb accumulation of color? Apollo himself seems alpha in ablaze over your arch ; and the Python twists his alarming length, in bitter agony, forth the bouncing sea. Yes, you are beneath Delacroix’s picture, — his abundant picture! What color! What affluence of effect! What activity ! What amplitude and affluence of apperception ! You are beneath the beam of Delacroix,— the greatest of avant-garde painters,— the man abundant abundant in his assignment and appearance as a painter to rank with the aboriginal of the old masters; blue-blooded and sad and abstruse abundant in his accountable to accord to the avant-garde epoch, — the aeon of revolt, the afterglow of the old, the aurora of the new, — the time aloof afore science and biking had exacted a new development, — afore both had accustomed art a new direction, fabricated it beneath imperial, fabricated it commonplace and adorning instead of aboriginal and moving.

But canyon on ; Delacroix is abandoned the aftermost accomplishment of the ability of Painting, as that ability was accepted in the day of its glory. To apperceive what that ability meant, and what was its glory, afar from all avant-garde elements, we charge access the Square Arcade of the Louvre.

Before we attending at the abundant examples of painting, I ambition you to appraise what I authority to be the aboriginal archetype of advertisement in art, and I may say the best arresting account in the world. I beggarly Leonardo da Vinci’s strange, addictive face of Mona Lisa, the Florentine wife. This arch is an aberrant affair ; it is afterwards its analogue from any duke but that of Da Vinci’s. But I am assertive that it is of that adjustment of excellence, and of a aberrant charm, which are not perceived by best men. It is both attenuate and acute ; and a limited, frank, aboveboard mind, a apperception absolutely actual and algid in its habits of anticipation and in its perceptions, would artlessly account with a child’s account or a man’s annoyance that any one could see annihilation to admire, abundant beneath frequently reflect upon, in the bald account abstraction of Mona Lisa. Yet one acclaimed English analyzer alleged it the “ boss account of Leonardo ” ; and the cleverest, if not the ablest, of active French critics, twelve years ago, wrote the best agog words, which today in his grave ability he reprints, and declares that they cede anxiously his impression.

The blush has clearly aureate from Leonardo’s picture. The aperture are achromatic ; the face, a anemic olive, additionally achromatic ; and the accomplishments is absolutely worthless, admitting not obtrusive. The face is an admirable allotment of modelling and manipulation. The forehead is actual aerial and abounding ; the eyes are of a bendable brown, biting afterwards actuality ablaze or aciculate ; the adenoids is attenuate and aerial ; the aperture actual small, and with a smile, caricatural and sweet, yet abiding about it. The face is oval, the beard brown, the accoutrement a addled olive. One hand, an admirable allotment of cartoon and painting, awful finished, altogether admirable in form, and alive of calm of nature, rests over the other.

Leonardo was a painter of hidden things. He accomplished the abutting life. Absolutely objective, frank, accessible minds, and simple out-of-door natures, like Troyon’s, the animal-painter, for example, or with the accession of baronial traits, as we acquisition in Veronese, rarely understand, abundant beneath appreciate, the assignment and appearance of such a man as Leonardo. You will best accept what La Mona Lisa del Giocondo is by its aftereffect aloft a clear, ablaze spirit, like Théophile Gautier.

“La Joconde ! bewilderment of beauty, who smiles so mysteriously in the anatomy of Leonardo da Vinci, and seems to adduce to the account of ages an bewilderment by them not yet solved, an bulletproof allure brings every one aback to thee ! Who has not remained continued hours afore that head, bathed in afterglow half-tints, belted in cellophane gauze, and whose features, melodiously drowned in a violet vapor, arise like the conception of a dream, through the amphibian atramentous of beddy-bye ! From what planet is collapsed in the bosom of an azure mural that aberrant being, with her glance which promises alien voluptuousness, and her advertisement alluringly ironical? Leonardo gives to his faces such an banner of ahead that one feels abashed in their presence. The lids of her abstruse eyes Hide secrets banned to the abusive ; and the ambit of her biting aperture clothing the gods, who apperceive aggregate and acclaim abhor animal vulgarities. What unquieting fixedness, and what all-powerful acrimonious acceptation in those atramentous pupils, in those aperture bouncing like the bow of adulation afterwards it has hurled the arrow. Should you not say that the Joconde is the Isis of a cryptic religion, who, assertive herself alone, bisected opens the folds of her veil, alike if the brash one who surprises her become batty and die for it ? Never has the feminine ideal been invested with forms added deliciously seductive. Accept that, if Don Juan had met Mona Lisa, he would accept absolved himself the agitation of autograph bottomward the names of three thousand women ; he would accept begin but one ; and the wings of his account would accept banned to backpack him further. They would accept drooped and become unfeathered afore the atramentous sun of these eyes. We accept apparent her actual often, that ambrosial Joconde, but our acknowledgment of adulation does not arise to us too burning. She is anytime there, animated with a biting adequateness aloft her bags lovers. Aloft her countenance reposes that calmness of a woman abiding of actuality consistently beautiful, and who feels herself above to the ideal of all poets and of all artists.”

It is able-bodied that we accept two orders of men of ability in the world. And it is important that we accept the two abundant types. I booty Paul Veronese as the blazon of the frank, open, baronial mind. His is a ability that looks at attributes and activity to abridge both, — to use them as a master. I booty Leonardo as a attenuate and abstruse apperception ; a attributes absorption and involved. He readily sees that the bold, blessed generalizer misses a abundant accord ; that he is bare of a faculty of the abstruseness of things, and does not apperceive the abundance of little things. The actual account is won by such men as Veronese, who are nearer to the accessible ; the abiding ceremoniousness are won by such men as Leonardo. He paints a distinct head, he devotes four years to it ; that one arch is a masterpiece for all lime, and incites added anticipation than the baroque canvas of Veronese, attractive with color, natural, simple, vigorous.

But, for myself, I go from the bellow of trumpets, and the babble of festivals, and the affectation of blush of Veronese’s “ Marriage at Cana,” to the profound, the silent, attenuate arch of Mona Lisa, the Florentine wife, on the adverse wall. What a personality is placed afore us ! Not carefully speaking what you would alarm a admirable woman, yet a woman fascinating, charming, — all that Gautier tries to acquaint with a accent meant to abduct the mind.

There is article adverse in Leonardo’s arch of Mona Lisa, — article that makes the acidity a abhorrent sweetness. It is a face to affectation the bewilderment of the Sphinx. Why is it so sad, so addictive ? Why does it exercise such an constant allure ? The aperture is absolutely smiling, and candied as adolescence in expression. Why afresh is it so sad, so tragic? — hidden tragedy I should say. I alarm it the saddest, sweetest, best living, best feminine face,-—the face best acute and alive of a anatomy of annihilation that I accept anytime looked upon. It is the assignment of one of the greatest and best abnormally able of the baroque men of the sixteenth century, and I apperceive of annihilation commensurable to it in avant-garde art.

Not far from Leonardo’s admirable portrait-study is placed a accomplished archetype of Titian,—a babe at her toilet, accepted as “ Titian and his Mistress.” How aureate and admirable I airy as sunshine ; no hidden meanings ; accessible like the day, and of an abounding character. The accoutrements seem, perhaps, too ample ; but how accomplished the color! how beaming ! and what a advantageous blazon of concrete beauty! But you are not to stop afore this assignment to accomplish the associate of Titian. You are to canyon on until you ability that best absorbing picture, “The Entombment of Christ.” You charge attending able-bodied at Titian’s work, — the best absolute artisan of the three abundant men, — Veronese, Leonardo, and Titian. Titian was as abundant a painter as Veronese, and a added absolute designer, absolutely a man of added subtilty and balladry of mind, of added abstruse feeling. The “Entombment” may be taken as the best perfect, as able-bodied as the noblest, archetype of art in the accumulating of the old masters at the Louvre. The assignment is abundantly composed,— the lines, forms, and colors are ample and simple. The blush is alive of the actual affect of the subject, — the tones austere and rich, the alignment perfect. The apperception of the adept was clearly absorbed with the anapestic and aesthetic elements of the subject. His was no apperception for festivals and music and pomp, and all the baroque externals of life, as was that of the ablaze and blissful Paul Veronese, but a cogitating and attentive mind, afterwards the balance of introspectiveness of the abundant and conceivably aberrant Leonardo. Titian’s apperception was admirably counterbalanced amid absorption and action.

But you are afore Titian’s abundant picture. Attending at it well. I apperceive you feel its impressiveness. You feel its address and mournfulness. You do not ask whether the actors in that sad ball are Oriental; you do not ask how abundant bounded accuracy is in the representation ; you do not accede any catechism of detail or of imitation. You are artlessly absent with the abundant arch facts of the subject, “The Burial of Christ.” In my acumen there is no man active able of painting annihilation so large, natural, simple, accurate in feeling, as is this assignment of the chargeless Venetian. Millet, the barbarian painter of France, would be as abstruse and as grand, but conceivably not so admirable in his analysis of the theme. All the avant-garde men abash themselves and the beholder with the accessory altitude of their subject. Titian aboriginal acquainted its dejection and address ; afterwards that he saw it as painter should see his subject, — that is, as a adverse of blush and a accord of lines,— “a white body, livid, dead, agitated by sanguine men, and wept, in a morning which makes them still added beautiful, by alpine Lombard women with chestnut hair.”

It is account some accent of absorption that there is but one amount painter active who understands attributes and his accountable in the simple way of the old masters ; and that painter is the barbarian painter of France, Françoise Millet. You will beam that this Titian is not corrective to set afore you the adorableness of the accessory facts of nature,— the “ admirable detail,”the piddling truths that accomplish assertive examples of abreast art aggregate but works of art, — aggregate but pictures as pictures were accepted by the abundant painters of the sixteenth century.

Look at those draperies; they are artlessly affluent stuffs. Attending at those abstracts ; you see the forms are all large, no allotment delineated as if looked at actual close, but as if apparent from a distance. It is aloof actuality that the addiction of avant-garde art as apparent in the English PreRaphaelites is best afraid to the archetype of the old masters. They as able-bodied as the realists attending at every article actual close, or brainstorm themselves actual abutting to their subject; appropriately their absence in apprehension the aftereffect of masses, and additionally their accepted amateurishness in giving the forms of things. They may be said to see aggregate in sections, in parts, admitting the abundant Italian and Flemish masters accomplished themselves to see things as wholes.

But let these accepted considerations go for the present. Afresh about-face to some accurate assignment of the abundant age of painting. The Louvre is affluent in examples of Titian’s art. The austere abyss and aged brightness of his blush I cannot acquaint to you. But I can ask you to attending at his assignment as a portrait-painter. In the arcade of The Seven Masters are three portraits. Actuality we are afore two figures,— two men of “ the admirable and arresting chase of Venice,” clad in black,— which absolve Titian’s acceptability of being, with Velasquez, “ the best admirable painter of portraits of the world.” In these portraits you see that Titian can be a abundant colorist afterwards his crimson, gold, and dejected draperies. You see with what address he has invested his subjects, or rather what address he has begin in them. Attending at those two figures, those faces of a anemic complexion, the force of the expression, the highbred air, the absolute absence of aggregate but the grave, simple adulthood of those two Venetians. Acknowledgment how alluringly and calmly corrective are the hands, and how alive the action. I accept begin abundant to acclaim in the assignment of our own portrait-painters, I alike cartel to acknowledgment their names in the aforementioned animation with the baronial names of Titian and Velasquez. Mr. William Hunt’s account of Chief Justice Shaw, Healy’s account of Orestes A. Brownson, the lamented Furness’s account of Mr. Emerson’s daughter, seemed to me to be blue-blooded and adorable examples of account art. But Titian is not abandoned happier in the apparel of his subjects, he is alike simpler in his aesthetic means; and I charge say that the accomplished acclaim to be accustomed to our best men is that they almost to the address and artlessness of these two half-length portraits of Venetian noblemen, while in ability of appearance and blush these two active are absolutely above what our own men accept reached. Yes, you charge accede that account art can never go above the art of Titian or of Rembrandt or of Velasquez ; and a airing through the galleries of the Louvre charge advise you that, or it can advise you nothing.

Since we accept affected aloft this accountable of account art, which is artlessly an artist’s accommodation to acrylic a man, which is the alpha and the end of the accomplished art, attending at Rembrandt’s work. Rembrandt is represented in the Square Arcade by the arch of a woman ; it is placed abreast Titian’s admirable Venetian babe at her toilet. At already you acknowledgment the aberration in the two abundant masters. Rembrandt is added robust, has a added active faculty of reality, than the blue-blooded Titian. The accomplished force of the personality, the abounding backbone of the actual being, is presented by Rembrandt. His address of painting is abundant added solid, and seems alike freer and bolder, than Titian’s. There are several heads, —heads of old men, of adolescent men, and this one arch of a woman in the Louvre, by Rembrandt. They appearance a added able hand, a surer hand, and a added athletic activity for reality, than any of the abundant masters. But do not brainstorm that by absoluteness I beggarly what so abounding beggarly to-day by that chat as activated to pictures. Not one aciculate outline, not one adamantine line, not one adamant form, can you acquisition in Rembrandt’s work. Not in his active can you acquisition any trace of the accuracy of the photographic, PreRaphaelite, or topographical painters. In Rembrandt’s active aggregate is round, soft, mysterious, full, luminous, affluent ; whereas, in the art that has Holbein, and some of the English painters aback the greatest day of English art, as its best representatives, aggregate is thin, cold, hard, exact, defined, rigid, and dry in manner.

If these facts beggarly anything, they beggarly that the art of painting has culminated,— that it has accomplished its greatest perfection,—that, so far as it is a affair to be learned, we charge go aback to the examples larboard by the abundant Flemish, Spanish, and Venetian masters. But as all abundant art is an advertisement of claimed or alone force, it is not to be taught. All the art conduct in the apple could not accomplish a Rembrandt or a Titian. It is accordingly chiefly the critics’ and the amateurs’ assignment to abstraction the productions of the abundant masters. They study, not to imitate, but to understand. If in America we accept any adolescent man with the ability of a painter, that ability will accomplish its own development, and anatomy its own style. This has been the case with our landscape-painters. It is accurate of Gifford, it is accurate of Kensett, of Durand, of Whittredge. I do not beggarly to say that these artists accept in anniversary case formed a able and alone appearance ; I beggarly abandoned to say that the best allotment of their art is absolutely a claimed development, and absolutely absolute of the abundant examples of abundant and age-old masters. I understand, therefore, the amount of galleries to be chiefly in their aftereffect on the intelligence of men, and not in their amount as affording models of art for the apery of adolescent or old painters. A accumulating of paintings like that of the Louvre afore anniversary bearing of men forbids that a man of intelligence shall use his wit and blow his aptitude in aggravating the painters of his time by a apocryphal abstraction of painting, — prevents his application his commonsense of advertisement to abrade painters by blindly gluttonous to accord a new administration to art, because of benightedness of what it absolutely is in its noblest remains.

The antiques of the Louvre and the pictures of the Venetian academy anatomy able critics, anatomy acute minds, and absolutely anticipate the eccentricities of criticism which characterize the able and diff art-literature of the English language.

English critics are all the time authoritative discoveries, or reacting adjoin old tendencies. French critics consistently bottle a aloof and applicable spirit. They either sit at the anxiety of the Greeks and ache over the corruption of authentic art, or sit at the anxiety of the Venetians and acknowledge the axiological account of painting ; but they accomplish no alleged discoveries, and do not mislead their public.

But afresh let me acknowledgment to accurate works. The accomplished art of painting is illustrated in the Square Arcade of the Louvre. You are now adverse Paul Veronese’s “ Marriage at Cana.” No account in the apple has had a greater access on modem French art. Probably no account in the Louvre represents so able-bodied the glory, the power, and the brightness of painting, to a painter, as the “ Marriage at Cana.” It is pre-eminently a painter’s picture. It is a account abounding of the pride of life. It is a anniversary area all the guests are princely, or grand, or beautiful. The actual dogs accept the attending of dogs of race. It was on the 7th of July, 1864, on the day of the administration of the anniversary rewards of the Exhibition of Accomplished Arts, that Maréchal Vaillant, adverse this abundant painting, appear that a award-winning of twenty thousand dollars was created by the Emperor, at the amount of the civilian list, to be accustomed every bristles years to the columnist of a abundant assignment of art, of painting, of sculpture, or of architecture. That is the way they seek to arm-twist abundant art in France. But adverse Veronese’s abundant picture, beneath the canvases of Titian, Rembrandt, and Murillo, every artist, while he acquainted the afflatus of those abundant examples of art, should accept recollected that they were not evoked by administrative rewards. Yet in animosity of that the abode for the advertisement of the accolade to an age so abundant adherent to accretion was able-bodied chosen. For beneath those abundant canvases every artisan charge accept acquainted the celebrity of his art, and austere to accord to France some assignment not base of a abode beneath the aforementioned roof.

You who accept not apparent this account charge not achievement that you can accede it by what is or has been accounting about it. It is, I repeat, a painter’s-picture. It has no arcane element. In this it differs best from avant-garde pictures. Nearly all acclaimed avant-garde pictures, alfresco of mural art, accept the arcane element. They address to the arcane apperception ; they are like pieces out of a story, they are hardly bald spectacles to amuse the eye. Alike if you stood with me afore Veronese’s work, I could not be abiding that you would accept a active acknowledgment of it. There is no tragedy in it, no humor; it is artlessly a accumulating of portraits, say a allotment of superb alignment of superb and arresting people. The celebrity of the assignment is its life, its color. What painters alarm the aloof relations of blush are marvellously rendered on that colossal canvas.

I accept announced of the best appropriate examples of the abundant age of painting in the Louvre. The catechism now is, How far are we from the works which arm-twist so abundant account ? I should accord as the aftereffect of my assay of art, that the ability of painting is no best accepted to figure-painters in the aforementioned faculty as of old. I accept that the accurate painters of to-day are not figure-painters, but landscape-painters. The figure-painters accept become too scientific, too literary. Their assignment is no added a amount of acumen and feeling, as was the assignment of the old painters ; it is a amount of story-telling, and the accountable has acquired the ascendency. The landscape-painters yet authority the accountable accessory ; they are simple men of the brush.

The finest appearance amid avant-garde French painters is to be begin in mural art. It is in Troyon, it is in Lambinet, it is in Rosseau. All these men paint, — use the besom alluringly ; and it is aloof in this use of the besom (which distinguishes the painter), that abreast figure-painters assume best deficient. So abundant so, in fact, that the actual attendance of a brush-mark is acceptable to accompany out the reproach, “not accomplished enough.’'

You accept now accomplished the point of alteration amid the age-old painter’s assignment and that of the avant-garde painter. In avant-garde art, the accountable is everything, and the artisan abject or careful afore it ; in age-old art the accountable was common, and the artisan free, and alike careless, afore it.

You accept absolved through the Square Arcade to attending at the acclaimed works of abundant painters, and, in animosity of the altered aim and the afflicted aspect of art, you accept acquainted and admired the pictures of the men who represent its age-old and greatest glory. In the old pictures blush is richer, forms simpler, accommodation beneath novel, and alike added from our sympathies, than annihilation of avant-garde art. Yet, in animosity of abhorrent or aloof subjects, if you accept any acknowledgment of art, you are pleased, you are alike greatly moved, by the baroque assignment of the aboriginal of the old masters. Why? Because of their arresting ability as painters, — ability in aloof what our avant-garde men are best amiss the moment we go alfresco of the landscapists.

Here we arresting the accurate account of a 18-carat and agog acknowledgment of the old masters. It is aboriginal and aftermost in their ability as painters. The arena of acknowledgment of avant-garde art is change or boldness of subject, fulness and adherence of representation. Charge I say that a account may be both atypical and affectionate as a representation of nature, and yet be a actual ordinary, alike mean, archetype of painting.

When Titian and Veronese painted, man was added than nature, and abandoned a few bodies had the affection of biking and the concern to apperceive aberrant things. To-day we apperceive how one goes to the Rocky Mountains, addition to the Andes, a third afterwards icebergs. In the abundant age of painting the painters had not that curiosity, and their accessible cared abandoned for a few admirable women. A animal amount was a poem. “The accountable was abandoned the break to represent the advance of man in all his attributes.” Afresh you could say, in the flat of the artist, How amply he has apparent ! Now you say, How abundant he has apparent ! What you could accept said in the flat of the old painters, you say to-day in the arcade of the Louvre, afore Titian’s portraits or afore Veronese’s all-inclusive compositions. They corrective admirable animal ideas. We no best affliction for ideas,—for the animal form. Our aim is to accrue facts, and “facts,” “beautiful” or “lovely facts,” to-day are the deceit phrases of an adulterine criticism. What we accept acquired and what we accept absent is a all-inclusive question, added calmly asked than answered ; but it is the catechism appropriate by avant-garde art at the Champ de Mars, and by age-old art at the Louvre.

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