DOI Heft:
No. 91 (Oct., 1900)
DOI Artikel:Sparrow, Walter Shaw: Ralph Peacock and his work
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19786#0016
Ralph Peacock and his Work
is allowed to develop its spontaneous forces in a at least make a determined effort not to be enslaved
free, untroubled manner. Forgetting this, they chafe by that troublesome desire to re-paint which worries
and fret over the slow headway that they seem to them after each night's sleep, and so often becomes
make; and much valuable time is given to such an unsettling habit of mind as debilitating as it is
inopportune industry as is well fitted to rob morbid.
their work of its first-born freshness of senti- Long ago, in the great days ot Flemish and
ment and enthusiasm. Why do they thus forget Italian art, this danger of the aesthetic temperament
that it will ever be a great deal easier to was held in check by the sternly practical course of
educate the critical faculty than to acquire study that art-students underwent, either as servant-
manipulative skill, because the eyes and the brain pupils in the guild schools, or else as apprentices
will ever do a great deal more work than the hand? to famous masters. It was in a steady, workman-
If this simple consideration were kept constantly like manner, under the guidance of a discipline
in mind, as it ought to be, young artists of talent, that taught them patience and obedience, that
however discontented with their productions, would they acquired mastery over their tools. Their
hands were educated when their
minds began to grapple seriously
with the intellectual problems of
art; and it was thus their good
fortune to become able craftsmen
before they aspired to indepen-
dence as creative artists.
There are some who think that
this system of training might be
revived with success ; they do not
perceive that it is completely in
opposition to the temper of our
democratic type of society. For
good or ill, the spirit of the age
is so potent a stimulus to freedom
of thought, to independence of
action, that it tends to make all of
us self-consciously alive to the right
we have to use our minds and
talents without fear of authority.
In the art world this self-conscious-
ness finds expression in several
unfortunate ways : for example, in
the belief, too common among art
students, that a thorough know-
ledge of old styles hinders the
development of new forms of
speech in art. As well might we
believe that the act of reading
Shakespeare and Milton would
tell against the originality of a
Kipling or a Meredith.
This false notion as to the
influence of knowledge on the
formation of distinctive styles
brings us back to the point of de-
parture, for it certainly stimulates
that impatience which causes most
young artists to attempt much
'sybil, daughter of g. f. scott, esq." by ralph peacock more than their present attain.
is allowed to develop its spontaneous forces in a at least make a determined effort not to be enslaved
free, untroubled manner. Forgetting this, they chafe by that troublesome desire to re-paint which worries
and fret over the slow headway that they seem to them after each night's sleep, and so often becomes
make; and much valuable time is given to such an unsettling habit of mind as debilitating as it is
inopportune industry as is well fitted to rob morbid.
their work of its first-born freshness of senti- Long ago, in the great days ot Flemish and
ment and enthusiasm. Why do they thus forget Italian art, this danger of the aesthetic temperament
that it will ever be a great deal easier to was held in check by the sternly practical course of
educate the critical faculty than to acquire study that art-students underwent, either as servant-
manipulative skill, because the eyes and the brain pupils in the guild schools, or else as apprentices
will ever do a great deal more work than the hand? to famous masters. It was in a steady, workman-
If this simple consideration were kept constantly like manner, under the guidance of a discipline
in mind, as it ought to be, young artists of talent, that taught them patience and obedience, that
however discontented with their productions, would they acquired mastery over their tools. Their
hands were educated when their
minds began to grapple seriously
with the intellectual problems of
art; and it was thus their good
fortune to become able craftsmen
before they aspired to indepen-
dence as creative artists.
There are some who think that
this system of training might be
revived with success ; they do not
perceive that it is completely in
opposition to the temper of our
democratic type of society. For
good or ill, the spirit of the age
is so potent a stimulus to freedom
of thought, to independence of
action, that it tends to make all of
us self-consciously alive to the right
we have to use our minds and
talents without fear of authority.
In the art world this self-conscious-
ness finds expression in several
unfortunate ways : for example, in
the belief, too common among art
students, that a thorough know-
ledge of old styles hinders the
development of new forms of
speech in art. As well might we
believe that the act of reading
Shakespeare and Milton would
tell against the originality of a
Kipling or a Meredith.
This false notion as to the
influence of knowledge on the
formation of distinctive styles
brings us back to the point of de-
parture, for it certainly stimulates
that impatience which causes most
young artists to attempt much
'sybil, daughter of g. f. scott, esq." by ralph peacock more than their present attain.