Holiday Art Books
From "Design in Theory and Practice" Copyright by The Macmillan Company
japanese wood carving in the boston museum of fine arts
HOLIDAY ART BOOKS and then all became sickled o'er by the pale cast of
thought. I was accused of having imagination. I
Elihu Vedder publishes his auto- never said I had imagination, but they thought I
biographical reminiscences under the had it, and people are mistrustful of imagination,
title, "The Digressions of V" (Hough- some going so far as to deny its very existence
ton, Mifflin & Co.). The book, which is abun- —or, at least, to resent its intrusion in art, especially
dantly illustrated, is written in a sprightly, entertain- when I intrude it. I could copy nature beautifully,
ing fashion, without too much formality of scheme, but how often I wished that I had dedicated myself
The artist says playfully that he has always de- to the painting of cabbages! I mean, painting
plored his lack of a Boswell. On the whole, how- them splendidly, with all the witchery of light and
ever, "V" does very well. If there is none of the shade and color, until the picture should contain all
pomp and circumstance of formal biography there the pictorial elements needed in a Descent from the
are many succinct and graphic pictures of notable Cross or a Transfiguration, so that no gallery would
people and a frank current of confessions as to a be complete without a Cabbage by Vedder."
painter's artistic experience, which rather gains in There is an autobiographic cast to a good deal of
weight by not being set forth too seriously. Mr. Will H. Low's interesting lectures delivered
Writing of his early impressions of Venice, where before the Chicago Art Institute in April under the
he "absorbed color like a sponge (for I started as a Scammonfoundation and now published under the
colorist, strange as it may seem to some)," he says, title, "A Painter's Progress" (Charles Scribner's
"I studied by myself and sometimes wish I hadn't, Sons). In these lectures he traces the course of art
for my pictures always have to me a home-made air affairs and the changes which have overtaken art
which I don't like. They lack the air of a period conditions as they have been reflected in his own
school, and this—I say it seriously—seems to me a experience or come to his own personal knowledge,
great defect. I believe that all my defects have Of "Our Present and Our Future" Mr. Low is
arisen from my trying to cure them. I commenced sanguine. The importance of the exposition at
with a great love of color and a strong sense of the Chicago in 1893 in influencing the contemporary
solidity of form, but drawing killed the color and popular estimate of artistic matters and in stimulat-
atmosphere weakened the form and reduced me to ing public works, particularly in the department of
what I am. I loved landscape, but was eternally mural decoration, gave the speaker in his closing
urged to paint the figure; thus my landscape was address before the institute a graceful and well-met
spoiled by the time devoted to figure, and the figure opportunity. Mr. Low emphasizes the importance
suffered by my constant flirting with landscape, of mural decoration, as in law courts, town halls and
What I felt strongly I could strongly express in the other public buildings, in its effect on the taste of the
sketch, but the finished picture killed the feeling— thousands who now transact the business of their
XL VII
From "Design in Theory and Practice" Copyright by The Macmillan Company
japanese wood carving in the boston museum of fine arts
HOLIDAY ART BOOKS and then all became sickled o'er by the pale cast of
thought. I was accused of having imagination. I
Elihu Vedder publishes his auto- never said I had imagination, but they thought I
biographical reminiscences under the had it, and people are mistrustful of imagination,
title, "The Digressions of V" (Hough- some going so far as to deny its very existence
ton, Mifflin & Co.). The book, which is abun- —or, at least, to resent its intrusion in art, especially
dantly illustrated, is written in a sprightly, entertain- when I intrude it. I could copy nature beautifully,
ing fashion, without too much formality of scheme, but how often I wished that I had dedicated myself
The artist says playfully that he has always de- to the painting of cabbages! I mean, painting
plored his lack of a Boswell. On the whole, how- them splendidly, with all the witchery of light and
ever, "V" does very well. If there is none of the shade and color, until the picture should contain all
pomp and circumstance of formal biography there the pictorial elements needed in a Descent from the
are many succinct and graphic pictures of notable Cross or a Transfiguration, so that no gallery would
people and a frank current of confessions as to a be complete without a Cabbage by Vedder."
painter's artistic experience, which rather gains in There is an autobiographic cast to a good deal of
weight by not being set forth too seriously. Mr. Will H. Low's interesting lectures delivered
Writing of his early impressions of Venice, where before the Chicago Art Institute in April under the
he "absorbed color like a sponge (for I started as a Scammonfoundation and now published under the
colorist, strange as it may seem to some)," he says, title, "A Painter's Progress" (Charles Scribner's
"I studied by myself and sometimes wish I hadn't, Sons). In these lectures he traces the course of art
for my pictures always have to me a home-made air affairs and the changes which have overtaken art
which I don't like. They lack the air of a period conditions as they have been reflected in his own
school, and this—I say it seriously—seems to me a experience or come to his own personal knowledge,
great defect. I believe that all my defects have Of "Our Present and Our Future" Mr. Low is
arisen from my trying to cure them. I commenced sanguine. The importance of the exposition at
with a great love of color and a strong sense of the Chicago in 1893 in influencing the contemporary
solidity of form, but drawing killed the color and popular estimate of artistic matters and in stimulat-
atmosphere weakened the form and reduced me to ing public works, particularly in the department of
what I am. I loved landscape, but was eternally mural decoration, gave the speaker in his closing
urged to paint the figure; thus my landscape was address before the institute a graceful and well-met
spoiled by the time devoted to figure, and the figure opportunity. Mr. Low emphasizes the importance
suffered by my constant flirting with landscape, of mural decoration, as in law courts, town halls and
What I felt strongly I could strongly express in the other public buildings, in its effect on the taste of the
sketch, but the finished picture killed the feeling— thousands who now transact the business of their
XL VII