This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1900 edition. Excerpt: ... The British school of contemporary art claims for itself, as its distinguishing quality, the very laudable one of honesty of purpose, of sincerity, of conscientiousness. It is sometimes admitted that in certain matters of technique (and it might be admitted more freely) this school, especially in painting, ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1900 edition. Excerpt: ... The British school of contemporary art claims for itself, as its distinguishing quality, the very laudable one of honesty of purpose, of sincerity, of conscientiousness. It is sometimes admitted that in certain matters of technique (and it might be admitted more freely) this school, especially in painting, falls behind certain others, --notably the French; that there is a tangible lack of craftsmanship and ideas, of originality and selectiveness; it is asserted cheerfully that sensational 57 methods and works are practically unknown, and that Mr. Whistler (who is American-born) is the only "coxcomb " who will "fling a paint-pot in the face of the public." These claims are generally allowed by the more enlightened and tolerant of the foreign commentators, --the British artists are given credit for loftiness of conception and reverence in execution, for a striving for honest workmanship and an indifference as to whether the spectator is startled or amused or shocked, or not. The French critics have been peculiarly impressed with the defmiteness of the English school, its freedom from foreign influence. But this French, or otherwise intelligent cosmopolitan, critic will probably be somewhat surprised to learn that this revolt of naturalism against convention and of sincerity against affectation, is all, or largely, due to the pre-Raphaelite movement of half a century ago, "that splendid and daring rebellion which has exercised so great an influence on the painting of the world." Its accompaniment of "hysterics," on the part of the public and the critics, is to be disregarded as inessential; these reformers were not long-haired, wild-eyed enthusiasts, "the least bit crazy and very difficult to manage," in the words of Ruskin himself, reformers who...
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