DOI Heft:
No. 192 (February, 1913)
DOI Artikel:Brinton, Christian: Standardized sentiment in current art
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43451#0448
Standardized Sentiment in Current Art
The Corcoran Gallery Exhibition
THE BOWL OF GOLDFISH
BY CHILDE HASSAM
sufficient esthetic entities, but rather as parts of
a system. While such a situation has long been
tacitly recognized, it would be remiss on the
present occasion not openly to congratulate the
Academy upon the frankness with which they
have taken the public into their confidence. There
has this season been absolutely no attempt to dis-
guise or minimize actual conditions. We have
been plainly shown what the crying needs are,
and such rare and welcome naivete merits every
consideration. There is, however, something am-
biguous if not positively confusing in such an
attitude. The average individual not conversant
with the general policy and programme of the in-
stitution in question may fail to grasp the specific
point at issue, or do full justice to the pertinency
of this method of approach. It is barely possible,
though of course not probable, that there are those
who may even be misled into considering these ex-
hibitions as serious, inspiring demonstrations of
artistic accomplishment, and not in their true as-
pect as appeals for public sympathy and support.
The good, old-fashioned plan of putting one’s best
foot forward, of, in other words, offering a judi-
ciously selected and installed display may, after
all, prove wiser than the present juggling with
one’s poor, overwrought sensibilities.
II. THE PHILADELPHIA WATER COLOR
EXHIBITION
Without advancing any claims to nationality in
scope or significance, the Pennsylvania Academy
of the Fine Arts nevertheless approaches more
closely the definition of a national institution than
does any organization of its character in America.
Not only is it the oldest as well as the most rep-
resentative of our art academies, it is also the
one whose exhibitions have for years past main-
tained the highest standard of general excellence.
A special feature of the Philadelphia season is the
annual Water Color Exhibition inaugurated just a
decade ago, and on this occasion even more inter-
esting and varied than usual. On entering the
galleries you instantly feel the difference in aim
and esthetic ideals between exhibitions as they are
presented in Philadelphia and as one customarily
LXXXIV
The Corcoran Gallery Exhibition
THE BOWL OF GOLDFISH
BY CHILDE HASSAM
sufficient esthetic entities, but rather as parts of
a system. While such a situation has long been
tacitly recognized, it would be remiss on the
present occasion not openly to congratulate the
Academy upon the frankness with which they
have taken the public into their confidence. There
has this season been absolutely no attempt to dis-
guise or minimize actual conditions. We have
been plainly shown what the crying needs are,
and such rare and welcome naivete merits every
consideration. There is, however, something am-
biguous if not positively confusing in such an
attitude. The average individual not conversant
with the general policy and programme of the in-
stitution in question may fail to grasp the specific
point at issue, or do full justice to the pertinency
of this method of approach. It is barely possible,
though of course not probable, that there are those
who may even be misled into considering these ex-
hibitions as serious, inspiring demonstrations of
artistic accomplishment, and not in their true as-
pect as appeals for public sympathy and support.
The good, old-fashioned plan of putting one’s best
foot forward, of, in other words, offering a judi-
ciously selected and installed display may, after
all, prove wiser than the present juggling with
one’s poor, overwrought sensibilities.
II. THE PHILADELPHIA WATER COLOR
EXHIBITION
Without advancing any claims to nationality in
scope or significance, the Pennsylvania Academy
of the Fine Arts nevertheless approaches more
closely the definition of a national institution than
does any organization of its character in America.
Not only is it the oldest as well as the most rep-
resentative of our art academies, it is also the
one whose exhibitions have for years past main-
tained the highest standard of general excellence.
A special feature of the Philadelphia season is the
annual Water Color Exhibition inaugurated just a
decade ago, and on this occasion even more inter-
esting and varied than usual. On entering the
galleries you instantly feel the difference in aim
and esthetic ideals between exhibitions as they are
presented in Philadelphia and as one customarily
LXXXIV