DOI issue:
Nr. 333 (February 1925)
DOI article:Pearson, Ralph M.: Etchings as works of art
DOI Page / Citation link:https://doi.org/10.11588/diglit.19984#0135
mceRriAUonAL
everyday human experience. But when concern is gesting facts in nature instead of recording them
given to this organization of lines, spaces and faithfully (a much easier process, by the way,
forms into pictorial design, the sensitive observer when once the trick is learned) has become a tra-
is taken out of everyday experience into an dition within a tradition since Whistler popular-
entirely new and different and more thrilling ized the process, but it climbs over no walls,
experience, called esthetic emotion. Because of Suggestion stimulates the imagination, it has been
our inherited habit, a bad habit which is almost said. Yes. But to what? To the completion of
universal, of thinking only about the subject an unfinished inventory of facts. Pleasing without
in pictures instead of seeing them as visual sym- doubt, but entirely within ordinary experience,
phonies (when thev^ . _ ^ ^ ^_______^ ^ And nee^in
tellectual reactions to - ...... tution of his possible
subject matter, per- Number Thirteen. The sense of design is again Jound in creative abilities to
sonality technical <hc work °ltbis "rtist af'er !( had been almost lolally lost Jor the skillful hack-work
dexterity,' etc. Such a hundred years. of a recorder. Pur-
different pleasures may be indulged at will. The chase of mediocrity stimulates the production of
great arts of the race, such as those of China, mediocrity and penalizes production of creative
Japan, Greece, Egypt, the American Indians, the work. Purchase of creative work, on the other
old masters of Europe, all have subject interest, hand, has advantages from several points of view,
all tell a story, all are skillful. The spiritual Gilbert K. Chesterton says we have lost the age
tragedy lies in seeing no more than these matters of wonder. Perhaps the greatest asset of creative
in them—in missing the thing the artist has done work is its ability to restore wonderland to those
with these elements—the how he has built them who go in search of it. Purchase of such work is
into a work of art. evidence of the search, evidence of the real desire
Etching, as has been said, has lost contact backed by willingness to make material sacrifice
with this art content probably more than any to gain the end. It is spiritual adventure. It is
other medium. It has varied the representative carving one's own path through experience instead
approach from time to time, but, in general, has of following the dusty and crowded highway of
kept well within its borders. The method of sug- the respectable.
LIST OP TITLES AND ARTISTS
1. "The Cannon" Durer 1471-1528 7. "Landscape" Van De Velde 1593-1641
2. "Charles V" Hopfer 1493-1536 8. "Christ Healing the Sick" Rembrandt 1606-1669
3. "Le Concert" Guilio Campagnola 1482-1514 9. "Malvasia" Hollar 1607-1677
Domenico " 1511-1563 10. "Le Goute" Van Ostade 1610-1685
4. "Ships" Brueghel (Pieter) 1525-1569 11. "Stations of the Cross No. 10" Tiepolo 1696-1770
5. "Battle Scene" Tempesta 1555-1630 12. "Le Supplice du Garrot" Goya 1746-1828
6. "Miseries of War Series" Callot 1592-1635 13. "The Morgue" Meryon 1821-1868
february 1925
three ninety-Jive
everyday human experience. But when concern is gesting facts in nature instead of recording them
given to this organization of lines, spaces and faithfully (a much easier process, by the way,
forms into pictorial design, the sensitive observer when once the trick is learned) has become a tra-
is taken out of everyday experience into an dition within a tradition since Whistler popular-
entirely new and different and more thrilling ized the process, but it climbs over no walls,
experience, called esthetic emotion. Because of Suggestion stimulates the imagination, it has been
our inherited habit, a bad habit which is almost said. Yes. But to what? To the completion of
universal, of thinking only about the subject an unfinished inventory of facts. Pleasing without
in pictures instead of seeing them as visual sym- doubt, but entirely within ordinary experience,
phonies (when thev^ . _ ^ ^ ^_______^ ^ And nee^in
tellectual reactions to - ...... tution of his possible
subject matter, per- Number Thirteen. The sense of design is again Jound in creative abilities to
sonality technical <hc work °ltbis "rtist af'er !( had been almost lolally lost Jor the skillful hack-work
dexterity,' etc. Such a hundred years. of a recorder. Pur-
different pleasures may be indulged at will. The chase of mediocrity stimulates the production of
great arts of the race, such as those of China, mediocrity and penalizes production of creative
Japan, Greece, Egypt, the American Indians, the work. Purchase of creative work, on the other
old masters of Europe, all have subject interest, hand, has advantages from several points of view,
all tell a story, all are skillful. The spiritual Gilbert K. Chesterton says we have lost the age
tragedy lies in seeing no more than these matters of wonder. Perhaps the greatest asset of creative
in them—in missing the thing the artist has done work is its ability to restore wonderland to those
with these elements—the how he has built them who go in search of it. Purchase of such work is
into a work of art. evidence of the search, evidence of the real desire
Etching, as has been said, has lost contact backed by willingness to make material sacrifice
with this art content probably more than any to gain the end. It is spiritual adventure. It is
other medium. It has varied the representative carving one's own path through experience instead
approach from time to time, but, in general, has of following the dusty and crowded highway of
kept well within its borders. The method of sug- the respectable.
LIST OP TITLES AND ARTISTS
1. "The Cannon" Durer 1471-1528 7. "Landscape" Van De Velde 1593-1641
2. "Charles V" Hopfer 1493-1536 8. "Christ Healing the Sick" Rembrandt 1606-1669
3. "Le Concert" Guilio Campagnola 1482-1514 9. "Malvasia" Hollar 1607-1677
Domenico " 1511-1563 10. "Le Goute" Van Ostade 1610-1685
4. "Ships" Brueghel (Pieter) 1525-1569 11. "Stations of the Cross No. 10" Tiepolo 1696-1770
5. "Battle Scene" Tempesta 1555-1630 12. "Le Supplice du Garrot" Goya 1746-1828
6. "Miseries of War Series" Callot 1592-1635 13. "The Morgue" Meryon 1821-1868
february 1925
three ninety-Jive