DOI issue:
No. 188 (October, 1912)
DOI article:Howe, Samuel: Stage setting: realistic and impressionistic
DOI article:American art progress
DOI Page / Citation link: https://doi.org/10.11588/diglit.43450#0399
Stage Setting: Realistic and Impressionistic
NIGHT EFFECT IN THE FOREST
“chantecler” scenery
often used as a screen for indifferent and anaemic
dialogue and action. Of course, for such the old
era of painting is the better one, but for those who
think, still more for those who cherish within
their makeup the intimate ability to feel, the
mystic gauze is more likely to please; anyway, it is
a step in the right direction—it is an artifice ap-
pealing to the imagination. Yes! We humans
are strange in our childish fancies and still engaged
with toys, happy in our limited ideals and childish
playthings, and when confronted with huge prob-
lems involving the phenomena of Nature are we
little, indeed! We are ambitious and apprecia-
tive, of course we are, and have our tiny triumphs.
Perhaps some day, like the Dog in “Chantecler,”
we can enjoy the blissful illusion of lapping up the
stars reflected in the pond of the farmyard. For
in the great comedy of daily life even the domestic
animals recognize the wonders of nature and have
wit enough to enjoy them.
y^MERICAN ART PROGRESS
The artistic development of this country
during the past year, according to the critics, has
manifested itself not so much in the number of
works of art produced as in the establishment of
numerous schools of art in the various large cities,
the number and general excellence of public exhi-
bitions, the increasing frequency of large sales,
particularly in New York City, and in the money
spent for native and foreign works.
Two widely discussed recent purchases of works
of art by American collectors was that of a
Velasquez which brought $500,000, and a Rem-
brandt, which also brought $500,000.
LI
NIGHT EFFECT IN THE FOREST
“chantecler” scenery
often used as a screen for indifferent and anaemic
dialogue and action. Of course, for such the old
era of painting is the better one, but for those who
think, still more for those who cherish within
their makeup the intimate ability to feel, the
mystic gauze is more likely to please; anyway, it is
a step in the right direction—it is an artifice ap-
pealing to the imagination. Yes! We humans
are strange in our childish fancies and still engaged
with toys, happy in our limited ideals and childish
playthings, and when confronted with huge prob-
lems involving the phenomena of Nature are we
little, indeed! We are ambitious and apprecia-
tive, of course we are, and have our tiny triumphs.
Perhaps some day, like the Dog in “Chantecler,”
we can enjoy the blissful illusion of lapping up the
stars reflected in the pond of the farmyard. For
in the great comedy of daily life even the domestic
animals recognize the wonders of nature and have
wit enough to enjoy them.
y^MERICAN ART PROGRESS
The artistic development of this country
during the past year, according to the critics, has
manifested itself not so much in the number of
works of art produced as in the establishment of
numerous schools of art in the various large cities,
the number and general excellence of public exhi-
bitions, the increasing frequency of large sales,
particularly in New York City, and in the money
spent for native and foreign works.
Two widely discussed recent purchases of works
of art by American collectors was that of a
Velasquez which brought $500,000, and a Rem-
brandt, which also brought $500,000.
LI