DOI issue:
Nr. 245 (August 1913)
DOI article:Ciolkowska, Muriel: A Canadian painter: James Wilson Morrice
DOI Page / Citation link:https://doi.org/10.11588/diglit.21159#0199
James Wilson Mor rice
servants of inestimable value where the artist-spirit
manifests itself. Virtuosity is the predominance
of technical qualities over imagination and in-
terpretation ; but a sound technique facilitates
demonstration for the artist-spirit, encourages
and stimulates it to activity and constant re-
florescence and, sometimes, by divulging secrets of
craft, opens the way to new forms of expression.
In Mr. James Wilson Morrice, the Canadian
painter whose work is familiar to visitors to the
Salons of the Societe Nationale, the Salon
d’Automne, and the exhibitions of the International
Society, we find the union of artistic temperament
and technical dexterity balanced to perfection.
The case is rare, for often the one is outrun and
obscured by the other. Nowadays technical ac-
complishment is inclined to be under-estimated.
A certain awkwardness is often appreciated and
sometimes cultivated, yet, if gaucherie may be
charming when natural, when assumed it is un-
justifiable. Perfection of technique is an obstacle
to the conveyance of artistic feeling where the
latter is deficient, but, where distinction of feeling
is highly developed, technical perfection will be an
aid instead of a hindrance. Prominent individu-
alities do not fear to be obscured by their technique.
“ Originality,” says M. Rodin, “ is like the alpine
mule : it always finds a way through.”
How agreeable it is to approach and to enjoy a
work whose execution is free from signs of labo-
riousness and strain, one which renders its meaning
fluently, eloquently ! Nothing intervenes between
the intentions of the painter and the comprehension
of the spectator, and direct and complete corre-
spondence establishes itself between them.
Indifference to technique is an excuse for
modern superficiality and incompetence. It is
perhaps a case of sour grapes or of proportioning
the critical standard to existing conditions. The
old masters were, indeed, masters of their craft, as
they were gifted, too, with great creative faculties
and poetic feeling. Never before in the history of
art has there been any snobbish fear of admiring
beauty of workmanship. It would almost seem
servants of inestimable value where the artist-spirit
manifests itself. Virtuosity is the predominance
of technical qualities over imagination and in-
terpretation ; but a sound technique facilitates
demonstration for the artist-spirit, encourages
and stimulates it to activity and constant re-
florescence and, sometimes, by divulging secrets of
craft, opens the way to new forms of expression.
In Mr. James Wilson Morrice, the Canadian
painter whose work is familiar to visitors to the
Salons of the Societe Nationale, the Salon
d’Automne, and the exhibitions of the International
Society, we find the union of artistic temperament
and technical dexterity balanced to perfection.
The case is rare, for often the one is outrun and
obscured by the other. Nowadays technical ac-
complishment is inclined to be under-estimated.
A certain awkwardness is often appreciated and
sometimes cultivated, yet, if gaucherie may be
charming when natural, when assumed it is un-
justifiable. Perfection of technique is an obstacle
to the conveyance of artistic feeling where the
latter is deficient, but, where distinction of feeling
is highly developed, technical perfection will be an
aid instead of a hindrance. Prominent individu-
alities do not fear to be obscured by their technique.
“ Originality,” says M. Rodin, “ is like the alpine
mule : it always finds a way through.”
How agreeable it is to approach and to enjoy a
work whose execution is free from signs of labo-
riousness and strain, one which renders its meaning
fluently, eloquently ! Nothing intervenes between
the intentions of the painter and the comprehension
of the spectator, and direct and complete corre-
spondence establishes itself between them.
Indifference to technique is an excuse for
modern superficiality and incompetence. It is
perhaps a case of sour grapes or of proportioning
the critical standard to existing conditions. The
old masters were, indeed, masters of their craft, as
they were gifted, too, with great creative faculties
and poetic feeling. Never before in the history of
art has there been any snobbish fear of admiring
beauty of workmanship. It would almost seem