DOI article:
Blattner, E. J.: Helen Hyde, an American artist in Japan
DOI Page / Citation link: https://doi.org/10.11588/diglit.43448#0068
Helen Hyde
“baby and toy” (monochrome woodcut)
BY HELEN HYDE
an art point of view. They are not an imitation of
a bygone art, nor are they intended as a substitute
for those mirrored reflections of Old Japan, the
prized legacy of the Ukiyoye School. They are
openly and frankly the Japan of to-day, as viewed,
not merely with the physical eye, but with the
discrimination of an intelligent, modern, artistic
temperament. Herein lies their distinctive fascina-
tion. The foreigner sees in them the Japan of his
dreams, the Japan he has learned to love, the
Japan that greeted him upon his first arrival.
Japanese women and children—more especially
the latter—as seen by foreign eyes, form a theme
rather full of contradictions, and one which the
Japanese themselves can neither understand nor
appreciate. It is quite true that the charming
little creatures of the artist’s fancy are foreign in
feeling, though clothed in the flower-like dress of
Japan. It is also evident that the artist herself
believes in their genuineness, and there is not the
slightest attempt at presenting or solving any
intricate psychological problems. Her subjects
have been studied with the deep
sympathy of a warm-hearted woman,
and given with a simplicity and direct-
ness that make for truth and reality.
Moreover there is in them that touch
of individuality which is so often
found in the old Japanese prints.
Although on the whole Miss
Hyde’s women are more closely
allied to the compositions of the older
artists in prints, her pictures of chil-
dren are more generally liked. This
may be due to the fact tliat she sees
the latter more objectively. A child’s
life is a spontaneous life. It wears
its little heart upon its sleeve. Every
movement, every gesture, every look, is a betrayal
of its innermost self. And Miss Hyde has suc-
ceeded admirably in catching these characteristics.
She records what she sees without any attempt at
penetrating beneath the surface, for this is so rich
that nothing more is needed. Note for example
the delightful little Lucky Branch. The utter un-
consciousness of the swagger due to the fascinating
bough of luck-bringing trinkets is admirably given.
Or the look of the little baby seated alone on the
floor, not quite sure whether to like the situation
or protest against it.
It is somewhat different with her women, as can
be readily seen in her Secrets, where the mother is
seeking to reach the consciousness of her child,
finding in it or trying to find an echo of her own
individuality. To the Western mind the unchanging
smile of the Japanese woman is not satisfying. We
involuntarily try to get at individuality, which, it
seems to us, must lie underneath the mask. We
want the personal note. Miss Hyde, possibly
quite unconsciously, appears to feel this. There
“rainy evening” (wood-engraving in colours)
54
BY HELEN HYDE
“baby and toy” (monochrome woodcut)
BY HELEN HYDE
an art point of view. They are not an imitation of
a bygone art, nor are they intended as a substitute
for those mirrored reflections of Old Japan, the
prized legacy of the Ukiyoye School. They are
openly and frankly the Japan of to-day, as viewed,
not merely with the physical eye, but with the
discrimination of an intelligent, modern, artistic
temperament. Herein lies their distinctive fascina-
tion. The foreigner sees in them the Japan of his
dreams, the Japan he has learned to love, the
Japan that greeted him upon his first arrival.
Japanese women and children—more especially
the latter—as seen by foreign eyes, form a theme
rather full of contradictions, and one which the
Japanese themselves can neither understand nor
appreciate. It is quite true that the charming
little creatures of the artist’s fancy are foreign in
feeling, though clothed in the flower-like dress of
Japan. It is also evident that the artist herself
believes in their genuineness, and there is not the
slightest attempt at presenting or solving any
intricate psychological problems. Her subjects
have been studied with the deep
sympathy of a warm-hearted woman,
and given with a simplicity and direct-
ness that make for truth and reality.
Moreover there is in them that touch
of individuality which is so often
found in the old Japanese prints.
Although on the whole Miss
Hyde’s women are more closely
allied to the compositions of the older
artists in prints, her pictures of chil-
dren are more generally liked. This
may be due to the fact tliat she sees
the latter more objectively. A child’s
life is a spontaneous life. It wears
its little heart upon its sleeve. Every
movement, every gesture, every look, is a betrayal
of its innermost self. And Miss Hyde has suc-
ceeded admirably in catching these characteristics.
She records what she sees without any attempt at
penetrating beneath the surface, for this is so rich
that nothing more is needed. Note for example
the delightful little Lucky Branch. The utter un-
consciousness of the swagger due to the fascinating
bough of luck-bringing trinkets is admirably given.
Or the look of the little baby seated alone on the
floor, not quite sure whether to like the situation
or protest against it.
It is somewhat different with her women, as can
be readily seen in her Secrets, where the mother is
seeking to reach the consciousness of her child,
finding in it or trying to find an echo of her own
individuality. To the Western mind the unchanging
smile of the Japanese woman is not satisfying. We
involuntarily try to get at individuality, which, it
seems to us, must lie underneath the mask. We
want the personal note. Miss Hyde, possibly
quite unconsciously, appears to feel this. There
“rainy evening” (wood-engraving in colours)
54
BY HELEN HYDE