Professor Van Dyke's book is not, as its title might imply, a treatise on esthetics, but a group of half a dozen essays put forth as argument "not only for art as art. but for art as an expression of life; that and its decorative and utilitarian aim are its sole appeals; they never should have been lost sight of for a moment; in the appreciation of art the commercial phase of it is irrelevant and wholly negligible." In bulk it is only a little book that can be carried in the coat pocket, but none more suggestive and ...
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Professor Van Dyke's book is not, as its title might imply, a treatise on esthetics, but a group of half a dozen essays put forth as argument "not only for art as art. but for art as an expression of life; that and its decorative and utilitarian aim are its sole appeals; they never should have been lost sight of for a moment; in the appreciation of art the commercial phase of it is irrelevant and wholly negligible." In bulk it is only a little book that can be carried in the coat pocket, but none more suggestive and stimulating on its theme has appeared in several seasons. We in America, Mr. Van Dyke holds, have become so interested in art as a commodity, or a curiosity, that we are in danger of forgetting that art may be regarded purely as art, or even as something of use and purpose. We have taken our noti0ns of art too much from dealers, collectors and museum directors, and have thus been led into historic and commercial fallacy. We are "in danger of forgetting that name and price and pedigree have nothing whatever to do with excellence or its absence in a work of art. The canvas that will not stand without a signature, a hall mark, or a dollar mark cannot stand long by virtue of them." The devotees of only the rare and the dear he castigates as enemies of sane art appreciation. But the modern artist himself is not blameless in this matter, for by a too strict adherence to the model he has allowed his powers of visual memory and invention to become atrophied-has "caught at the form and missed the spirit." One of the best chapters in the book is that on "The Use of the Model," which is a relentless but salutary exposure of the extreme literalness that vitiates so much of contemporary art. He makes a strong plea for an intelligent patronage and appreciation of our own art, which he finds "neither despicable nor negligible, the higher criticism seems disposed both to sneer 'at it and neglect it." He champions the much maligned skyscraper, in that it fulfils its purpose and is picturesque, is our only original style in architecture, and embodies a new principle in construction. He points out that: "We shall not be great in art or its appreciation, nor shall we in any wise become an artistic people, until we put aside our foreign baubles and do our own things, with our own materials, in our own way . . . the inspiration of a nation's art never came out of the junkshop." -"The Independent," Volume 70
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