International studio (58.1916)

4 rt and the Man

Art and the man
BY RAYMOND WYER
k TRAINING AND TEMPERAMENT
A man builds a house or furnishes
one—he buys pictures or begins to look at them
in public galleries—whichever way his curiosity
in matters of art is awakened, or whatever is the
first circumstance to make art a matter of con-
sideration, his attitude will naturally be controlled
by his own fancies. Those who are capable
of admitting the existence of forces outside
of their own experience and temperament
are few. This is especially true concerning
art matters.
Of course the immediate result of following
one’s own inclinations depends upon the quality
of imagination and refinement naturally possessed.
Mistakes, however, are bound to be made when
relying on an unsophisticated art taste, even
though heredity and environment have bestowed
unusual degrees of intuitiveness and discrimina-
tion. Fortunately the art novice, providing he
possesses certain qualities, natural and acquired,
soon realizes the irresponsibility of his own judg-
ment. He loses confidence in himself merely to
reattain it. And it is here that his disposition to
insist on his own judgment will be of value, for
this time instead of it being based on a complete
ignorance of the most elemental principles of art,
it will be founded on knowledge and an artistic
recipience which time, thought and humility alone
can develope. Yes! the spirit of humility is most
important to all those who would be art lovers,
and even to art critics.
I would emphasize that, however necessary
some sort of training and acquirement of knowl-
edge may be, an appropriate temperament is also
essential, and vice versa. It is this combination
alone that gives true distinction to any activity
and accomplishment in the field of art. In this
respect it must be remembered that there is a
definite and accepted standard of what is true
art in spite of disputes among critics on the attri-
bution of a painting, or on the merits of this
group of men and that group of men. This diver-
sity of opinion, however, makes it difficult to
arrive at a standard, although these differences
more often concern superficial aspects than fun-
damental laws.
Much confusion to the beginner is caused by
the fact that there are many men who through

different circumstances are credited as authori-
ties, and yet often assemble certain paintings
which possess all the attributes of art—but
not art itself. The fact is, many people sing
who ought never to sing, many paint who ought
never to paint, many are doctors who would
be more useful as undertakers. Because they
have had more or less technical training, the
public accept their opinions as infallible, putting
their trust in those who merely possess a number
of inflexible rules—rules correctly acquired yet
not finding the germ necessary to fuse them into life-
giving principles have remained only barren facts.
It is a question whether anyone should be al-
lowed to enter a career that affects public welfare
or even to prepare for it before an examination
has decided on his intellectual and temperamental
fitness. The fact that a person wishes to follow
a calling is by no means conclusive evidence that
he is adapted for it. We are often strangely
drawn toward ideas with which we have little in
common and that in relation to our own natures
are contradictions. From an economic stand-
point, as well as for the protection of the public,
a preliminary examination of this kind might be
desirable.
Art is a great sufferer in this respect. Public
bodies without experience or even natural dis-
cernment, in matters of taste, are often given a
free hand in art movements resulting in condi-
tions which defeat the whole purpose of art.
This condition is more prevalent in art than
other departments of life because the majority of
people while benefitting from the art activities of
the present and past generations are not conscious of
the fact, but accept the result as a matter of course.
Therefore, in spite of much improvement, and
improvement there is in a number of cities, the
art destinies of many communities are far from
promising. They have made little art progress
and simply remain happy hunting grounds for the
business architects and the business sculptors who
prepare their plans and submit models to tickle
the taste of unqualified judges—and for the busi-
ness artist who turns out canvases which inten-
tionally include all the characteristics sought for
in the preconceived ideas of the unenlightened
purchaser. So long as art activities are paralyzed
by these conditions, so long shall we have hideous
surroundings, unnecessary paintings in our mu-
seums, and statues in our parks upon which even
the snow refuses to fall gracefully.

LII