DOI Heft:
No. 223 (October 1911)
DOI Artikel:Blattner, E. J.: Helen Hyde: an American painter in Japan
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21155#0076
Helen Hyde
have been studied with the deep
sympathy of a warm-hearted woman,
and given with a simplicity and direct-
ness that make for truth and reality.
Moreover there is in them that touch
of individuality which is so often
found in the old Japanese prints.
Although on the whole Miss
Hyde's women are more closely
allied to the compositions of the older
artists in prints, her pictures of chil-
dren are more generally liked. This
may be due to the fact that she sees
the latter more objectively. A child's
"baby and toy" (monochrome woodcut) by iielen hyde life is a spontaneous life. It wears
its little heart upon its sleeve. Every
an art point of view. They are not an imitation ot movement, every gesture, every look, is a betrayal
a bygone art, nor are they intended as a substitute of its innermost self. And Miss Hyde has suc-
for those mirrored reflections of Old Japan, the ceeded admirably in catching these characteristics,
prized legacy of the Ukiyoye School. They are She records what she sees without any attempt at
openly and frankly the Japan of to-day, as viewed, penetrating beneath the surface, for this is so rich
not merely with the physical eye, but with the that nothing more is needed. Note for example
discrimination of an intelligent, modern, artistic the delightful little Lucky Branch. The utter un-
temperament. Herein lies their distinctive fascina- consciousness of the swagger due to the fascinating
tion. The foreigner sees in them the Japan of his bough of luck-bringing trinkets is admirably given,
dreams, the Japan he has learned to love, the Or the look of the little baby seated alone on the
Japan that greeted him upon his first arrival. floor, not quite sure whether to like the situation
Japanese women and children—more especially or protest against it.
the latter—as seen by foreign eyes, form a theme It is somewhat different with her women, as can
rather full of contradictions, and one which the be readily seen in her Secrets, where the mother is
Japanese themselves can neither understand nor seeking to reach the consciousness of her child,
appreciate. It is quite true that the charming finding in it or trying to find an echo of her own
little creatures of the artist's fancy are foreign in individuality. To the Western mind the unchanging
feeling, though clothed in the flower-like dress of smile of the Japanese woman is not satisfying. We
Japan. It is also evident that the artist herself involuntarily try to get at individuality, which, it
believes in their genuineness, and there is not the seems to us, must lie underneath the mask. We
slightest attempt at presenting or solving any want the personal note. Miss Hyde, possibly-
intricate psychological problems. Her subjects quite unconsciously, appears to feel this. There
'rainy evening" (wood-engraving in colours)
54
by helen hyde
have been studied with the deep
sympathy of a warm-hearted woman,
and given with a simplicity and direct-
ness that make for truth and reality.
Moreover there is in them that touch
of individuality which is so often
found in the old Japanese prints.
Although on the whole Miss
Hyde's women are more closely
allied to the compositions of the older
artists in prints, her pictures of chil-
dren are more generally liked. This
may be due to the fact that she sees
the latter more objectively. A child's
"baby and toy" (monochrome woodcut) by iielen hyde life is a spontaneous life. It wears
its little heart upon its sleeve. Every
an art point of view. They are not an imitation ot movement, every gesture, every look, is a betrayal
a bygone art, nor are they intended as a substitute of its innermost self. And Miss Hyde has suc-
for those mirrored reflections of Old Japan, the ceeded admirably in catching these characteristics,
prized legacy of the Ukiyoye School. They are She records what she sees without any attempt at
openly and frankly the Japan of to-day, as viewed, penetrating beneath the surface, for this is so rich
not merely with the physical eye, but with the that nothing more is needed. Note for example
discrimination of an intelligent, modern, artistic the delightful little Lucky Branch. The utter un-
temperament. Herein lies their distinctive fascina- consciousness of the swagger due to the fascinating
tion. The foreigner sees in them the Japan of his bough of luck-bringing trinkets is admirably given,
dreams, the Japan he has learned to love, the Or the look of the little baby seated alone on the
Japan that greeted him upon his first arrival. floor, not quite sure whether to like the situation
Japanese women and children—more especially or protest against it.
the latter—as seen by foreign eyes, form a theme It is somewhat different with her women, as can
rather full of contradictions, and one which the be readily seen in her Secrets, where the mother is
Japanese themselves can neither understand nor seeking to reach the consciousness of her child,
appreciate. It is quite true that the charming finding in it or trying to find an echo of her own
little creatures of the artist's fancy are foreign in individuality. To the Western mind the unchanging
feeling, though clothed in the flower-like dress of smile of the Japanese woman is not satisfying. We
Japan. It is also evident that the artist herself involuntarily try to get at individuality, which, it
believes in their genuineness, and there is not the seems to us, must lie underneath the mask. We
slightest attempt at presenting or solving any want the personal note. Miss Hyde, possibly-
intricate psychological problems. Her subjects quite unconsciously, appears to feel this. There
'rainy evening" (wood-engraving in colours)
54
by helen hyde