International studio (51.1913/1914)

Modern Flow er-Painting

from the inspiration of nature, an exquisitely artificial
-result was reached. There is a tendency for all art
to lapse into artificiality the moment that some
other intention than that of truth to nature
sustains it. For artists’ materials tend to assert
their own qualities at the expense of the exact
resemblance of the result to nature. In such cases
as woolwork the result must of necessity be so
far removed from this resemblance that the idea

treated has its representative to-day. Among our
illustrations the reader will discover abundant evi-
dences of the vitality with which this class of subject
is now treated. Detailed comparisons of the art of
one living contemporary with that of another tend
to become invidious, and to some extent they are
beside the mark where illustrations of the work
itself can be shown. A picture which cannot speak
for itself is not a work of art. It is true the critic

of interpretation rather than of imitation naturally
asserts itself. The supreme virtue of the quality
of oil paint is that it allows the artist the triumph
of an illusion of nature. Because of this great

may interpret what it says into language for those
who can hear but cannot see. But this is hardly
the public of The Studio. What we have written
may assist visitors to modern exhibitions to give to

influence over his effects it is within the power of
the painter to be a creator, and our impatience

the art of flower-painting the attention which it
deserves, either for its fascinating deco-ative beauty

with him if he chooses rather the role of a photo-

or for its lyrical charm.

grapher is justified. But creation begins not with
the introduction of something unreal, but with the

It has not been possible to represent all those
whose flower-painting should be mentioned in a

expression of a sense of reality greater than the

review of the theme, but we are glad to be able

view of nature exposed to a
that we turn with pleasure
to the flower-pieces of the
first Dutch period, and
display less interest in
conventionalised flower-
painting of a later time, is
that what we are always
looking for in art is reality
-—it is not even bound to
be the reality of nature ; in
periods of renaissance it has
been the reality of the reve-
lation of beauty in a former
mode of art. Painting is
distasteful to us when it ex-
presses no real conviction,
when it accepts a working
receipt of truth to nature,
without being able to show
the love of nature which
alone can ensure that truth,
or, on the other hand, when
it clings to a convention
which has lost its emble-
matic value.
We have thought it best
in this article to take as
wide a survey of the field
of flower-painting as we can.
At this moment it is en-
gaging the attention of the
most virile talent of our
time. Every shape in which
the flower-piece can be

lens. The reason to include such recognised masters as Mr. J. E.


“FLOWERS AND STILL-LIFE.” FROM AN OIL TAINTING BY PHILIP CONNARD

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