File:International studio (1897) (14804755443).jpg

Identifier: internationalstu75newy (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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as been proved beyondall doubt. With our eyes we gather impressions ofthe whole world, and we are able to reproducewhatever stirs our feeling. The vast scope of what Tendency is away fromnature, toward strengthof structure and towardcompactness • • ■ by DR.MAX DERI we may call near-to-naturepainting, all naturalistic stylesat different periods in the his-tory of mankind, bear witnessof the immense amount ofincitement that painters havedrawn from nature. But nature is so rich thatof looking at the world need notAnd the fact that from the certainly one wa\exclude another,earliest days of our childhood our eyes gather awealth of impressions, stored up within our souls,does not exclude the other fact that we canremould these impressions in unlimited variationsand combinations. This faculty of our mindabsolute fact and beyond ion. Every- body knows from his own experiem i emin- iscences of facts can be changed, varied inand color, combined in am way. Certainlj all I Q 2 2 ■ , , ■
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parts of a combination of this kind must THE BAT1AERS rience, is that a work of art can as well BY OTTO MULLER ..... be taken from experience, but the result- be born from a naturalistic point oting combination does not exist in reality: it is a view as take its roots from imagination,creation of the soul. Our day-dreams are filled by Periods of near-to-nature and far-from-naturethousands of images not existing in this world— production have always alternated in the historyconstructions of that faculty of the soul which we of art. Thus today we have just passed the turn-call imagination. ing period from near-to-nature to far-from-natureWhat we call artistic imagination is in most production. Two generations of painters, sincecases nothing but this variation of experienced Gustave Courbets early works in the middle ofimpressions. And still we know, that such images, the past century, had kept to the naturalisticthough they are absolutely impossible of reahza- point of view. This natu

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