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THE CONGRESS OF WOMEN.
should say their aim is an ignoble one? We can not but think the exploitation has been made too public. Many of the experiments upon canvas should have been left in the atelier, “ face to the wall.”
Mr. George Moore, the new English critic, may throw some light upon this subject. His definition of Impressionism in the most modern sense is “a rapid noting of illusive appearance.” Therefore, be sure to seek illusions. Then there is a theory that whatever the artist is painting, his retina must still hold some sensation of the place it has left. For instance, if a person leaves a brilliantly lighted salon, going out of yellow, he would see the other primary colors, blue and red; in other words, he would see violet. This theory happily furnishes a solution to the mysterious ultra violet shadows seen in Besnard’s “Two Ponies Harnessed by Plies,” and Tarbell’s “Girl and Horse.” These artists had been for a long time rambling in the fields in the golden sunlight of an October day, and were true to the impressions left upon the retina when they painted the shadows. The transmutation is not complete in Dannat’s “Spanish Girl.” “The Iphigenia,” in the harbor of Toulon, painted by the Parisian artist, Eugene Dauphin, is, we think, the most exquisite example of Impressionism in the Flench section or in the Art Palace.
But the great pendulum of this ism is now swung to the utmost limit of the realistic arc, and already we hear ominous sounds from afar.
The Independents. Incoherents and Les Inquiets claim attention. Allow me to offer just one word of consolation to the earnest artseer. When the “ ism” is not obvious, call it Incoherentism or Inquietism, and you will be a la ?node.
We sincerely hope that this grand reunion of international artistic effort will have a tendency to obliterate or converge all lines or isms, including American Alienism, into one broad Loyalism. This is the great hope for American art. Is there a lack of patriotism? No!
Have notour artists quick appreciation and adaptation? There are doubtlessly now living artists whose keen artistic sensibilities and powers will enable them to mount on eagles’ wings of sublime genius. Circumstances have compelled many to meet commercial demands, or they have sought an artistic atmosphere away from the feverish existence of American life. Art has been considered too much a diversion or a luxury of the rich. Artists need more than the necessary commission; they require appreciation to stimulate them to their best efforts. Loyalism must permeate our picture markets. Art study must form part of the curriculum of more of our colleges and universities. Kindergarten must teach lisping lips to revere the names of our Turner, Johnson, Homer, Millet, Gifford, Vedder, Richards, Melcher, Sargent and Whistler. All our artists’ names should become household words. Then with an unswerving loyalty to truth, beauty and lofty ideals as a centrifugal force, and a conscientious striving after perfect technic as a centrifugal force, art in America will rise Phoenix-like from its aspersions and become not only a grand conservative element of peace and prosperity in our glorious Republic, but will hasten the day when the kingdoms of this earth shall acknowledge but one ruler—the Eternal One, the Creator of all that is good, true and beautiful.