File:International studio (1897) (14596495738).jpg

Identifier: internationalstu70newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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at is to free oneself from the sensuousseductions to better appreciate the spiritualsignificance. But the most charming andmost baffling in technique of the canvases Ihave seen is his Forest of Anicn. The fig-ures in it have a cameo-like excjuisiteness, thetrees seem to have grown in harmony withthe figures, and in the whole we get, not onlythe eftect of distance, hut also the illusion oftime. I mean, tlie canvas seems to be thework of nature herself, who had sjjent uponit. as on a precious stone, a thousand years ormore. The human interest too is always presentin his work; but like the Orientals, the land-scape is not subordinated to it. While na-ture is always supreme, the universal note isnever lost. Ryder is the exponent in Ameri-can art of the Oriental conception of nature.He makes her speak in allegories; and withthe Oriental artist he must have believed thatimaginative mysticism is in.seperable fromany form of the best art, whether in natureto-day or in religion as in the past.
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f?fe# CONTRE-JOUR BY CHILDE HASSAM Landscape Painting in A)nerica In inodern European art Realism makes afetish of fact, of form—its enemies to thecontrary—and matter, while Impressionism ismaking a fetish of the phenomenon of light.The first ignores entirely the syinbol, sweepsaway the spiritualities; the second, while notconcerned directly or consciously with reli-gion, seeks to re-establish the spirit of the in-dividual with nature and thereby give a kindof symbolic expression to the spiritual, theuniversal. Light, in truth, is the symbol ofthe age; and radiant colours are the attributesof its assertive, complex and highly sophisti-cated consciousness. But an artist can lose the spirit of natureby too much analysis of colour and shade andthe light that animates them. We lose thepleasant efi^ect of contrast in trying to dis-cover all there is of colour in a shadow or allthere is of light in a colour. The great Frenchapostle of light, who spent his whole life dis-covering it, ama

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