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Odd Statue Typifying Brute Strength The Sculptor Rodin Belie yes This the Higher Art. "Sorrow," by Paul Nebel, Said by Its Critics to Represent Ptomaine Poisoning Rather Than Emotion. Two Remarkable Secessionist Pictures by Lawrence Fellows, the New York Artist. The Woman with the Sunshade Symbolizes Peace and Solitude. Tht Upper Picture Represents Original Sin Dodging the Angels. 6 To Give Either Pleasure or Instruction, or Both" By EDWIN H. BLASHFIELD, Member of Council, National Academy. TIIKUK are a thousand and one artists to-day win could copy l>a Vinci's "Last Supper" to skillfully Ihet none but the most astute experts could distinguish their work from the original. But while there are many Who could copy there was never but one, I>;«. Vinci himself, who could create It. It Is tills creative- power which shows the master. In the pain!lns of a pic ture or the carving of s statue, there Is much that Is purely mechanical, and there art thousands who possess or could acquire the ability to do It, but the genius to conceive and create great pic tures or statues is extremely rare. Wltl- OUI this genius, an iftlSt may paint a picture; with It he may pro.luce a mas terpiece. Art Is the presentation In a different form of some selection from nature la such t manner as to give either pleasure or instruction or both. Ii Is far more than mere copying. When FranS Hals painted iiis famous portraits of r>uteh characters be wis something more than a human camera. True, he transferred tin- features of his subject to the can- THE SPOKANE PRESS, SUNDAY,. Copyright. 1910, by American-Examiner. Great Britain Rights Reserve** TITCRF. Is a new revolt against con ventionality In art. It is in Germany. It Is In Paris. It Is in Xe.r York. It Is every, where. It Is called "secession" In Germany. It follows tlie leadership of an amazing artist named Mallsse In Paris, It has hundreds of follower! In \'ew York. The most audacious of Ihe secession ists have just held an exhibition at the Photo-Secession Gallery of Alfred Stiejrlttz on Fifth avenue, New York. The move ment is also reflected in a mlioh feebler form In the much larger exhibition of the Independents In >«e'W York. The leading New- secessionists are Max Weber, AlfstenK Btelchen, Alfred M.iurer, Lawrence Fc4ujjp. Arthur Dove, John Marin, Rrlnley, and Hartley. The aim of secessjotO Is to get away from everything thatjhfi been taught by education, training amSradltlon in art. lis aim Is to he entirklVorlginal; Its aim Is to Ret sway from* frame: lis aim is to paint ideas and and not 'he mere external aspr-ntaf/objects. Tlie secessionists irj, the impres sionists, but much rr™fe so. All the great palntdHyef the past, from Raphael to Homer MajtjHn, were no bet ter than to the secessionists. Indeed, Wrey were much lower than some of the modern secession ist photographers. A brief description of a picture by Matisse, the great PaWAlnn leader, will help to elucidate the nature of the move ment. A man Is playing the violin to three women. You cannot be .sure that tho man Is a man, but his feet are half as long as his body, and tlt&t sytubolizos Strength. You cannot be sure that he U i Vas, but With the features he embodied a soul. To say that he painted only what he saw may be true, but It Is also tree that he saw more poetry In a cabbage than the average eye sees in a rose. Familiar things appear to great artists In a poeti cal and beautiful form Which they are able to express on canvas or In marble. It Is this Which gives their work Its value. The painting of the secessionist may Correctly Interpret the sensations which he himself experiences, but what Is Its value if his picture Is unintelligible to others? That may be "art for the ar tists sake." but It Is a selfish concep tion which confines the mission of art within such narrow bounds. There la poetry in line, poetry In color and poetry In expression, hut. mote Im portant than all. there is poetry in con ception. It is tills poetry of conception which distinguishes the master, and but for this the copy would be as valuable as the original. For this reason, too. the true artist shudders at the presumption of the mod "To Paint Ideas and Sensations-Not Objects" playing the violin, for there Is no violin to be seen, but there Is a line that looks like a violin bow. You cannot feel sure •♦hat the women are women. They ap pear to be sitting on straw and living In a remarkable state of primitive sim plicity. Nevertheless. In spite of all the haziness of this picture, the Impression you get from It Is unquestionably MUSIC. Some of the most peculiar works of the leading New York secessionists are teproduced on this page. The first Impression that a Fhilistlne gets on looking at a secessionist picture Is that the artist does not know how to paint—that he Is in the mental state of a child who draws with chalk on the wall. This Is a mistake, for many of the artists have previously shown an ability to paint quite well in the old-fashioned way. H. Phelan Glbb, a clever English artist who lives In Paris and has been holding an exhibition In New York, knows Ma tisse, and admires him profoundly. Mr. Glbb has furnished an Interesting ex planation of the new artistic movement for this newspaper. "Secession Is art." said Mr Oltib de cidedly, "and what has hitherto been re garded as art Is nothing but mimicry. 'Hie paintings of lis Vinci. Rembrandt, Velasquez. Raphael and the rest of them are simply a higher form of the mimicry of the anthropoid ape. •'Art. In my way of thinking. Is the expression through any suitable medium, not of what the whole world sees, hears, tastes or smells, but of the sensations de rived from what the Individual sees, hears, taste* or smells. "Tho Idea that the mission of nrt Is 'to hold the mirror up to nature' Is re pulsive to the secessionist The spectacle if a Sir John Milljis stepping back from his canvas, with head Inclined to one side, to ascertain whether or not he has made a perfect copy of his model, who stands a few feci from the easel, and em retoucher and renovator of old mas ters. If 1 possessed a Rembrandt or a Turner and through some accident a spot of paint fell on the canvas. I might feel Justified In making some effort to removs t, but anything further than that Is van dalism, in my eyes. I do not think that because an old can vas has become so mellowed with age as to be almost Indistinguishable, it Is per missible for some modern retoucher to freshen It up, to give the trees a little touch of Spring, as It were. It Is better that the master should die a natural death than be given a new lease of life under such circumstances. It Is undoubtedly true that there la nothing magic about the early periods of classic art and that there Is no rea son why the artist of the present day should not produce works of equal value, but there Is this much to say In favor of the old masters: they have* stood the test of time; succeeding gen erations have all attested their Incom parable merit: It has not been neces sary to be educated up to them. We cannot say this of the new school of art— fecession. IS IT "To hold the mir ror up to nature' 9 Shakespeare "The one way possible of speak ing' truth" *ro*mtng "The work of the whole spirit of man" — t <T T S pretty ' Dut is 11 Art? " keeps asking the Devil I according to his historiographer, Mr. Rudyard Klp ling. Of late there have been a number of secessions from the academic, or classical, Ideal. Some of the expressions of the revolt are seen on these pages. The secesslonlsta look upon the Old Masters as "photographers" and define True Art as the interpretation of a sensation called forth by a thing, and not the delineation of the thing that calla forth the sensation. This Is an age-old and cosmic differ ence In thought. Do we resent the mosquito that bitea or do we resent the bite the mosquito inflicts? then advancing again to put the last fin ishing touches as he observes some dis crepancy, resembles too much a woman matching a sample of ribbon at the bar gain counter to measure up to my Ideas of art. "Art means something more than hu man photography. Art Is to portray the emotion — not the object. The farther we get from the photographic idea, the nearer we get to art. In so far as a Rembrandt is a photograph, It Is not art; In so far as It represents the Indi vidual mood of the artist, It is. "The artist of the future will scorn to paint things material. Sensations and emotions will be his theme, and though it will take a long while before the lay mind Is educated up to such a standard as to appreciate the subtlety Involved In this form of art, the time wtll come when It will be appraised at Its true value. "The secessionist of to-day realizes this and gives as much of his time to It as he can afford, but still he must live. And so he divides his time between the old type of work, which he does for money, and the new style, which he does for art. "To paint a gown so that It Is Indis tinguishable from the real fabric Is very clever, and few people possess the talent to do It, but It Is not art. It Is simply Imitation and copying. That Is what our artists have been doing since the world began. The ordi nary artist hopes to attain fame by following In the footsteps of the old masters. Because Rembrandt was the son of a miller and did his work In his father's old Dutch mill, through the narrow windows of which only a thin ray of light could penetrate, some of these modern apes pick out dark studio* from which they carefully screen out all light except such as may find Its way through a narrow slit which they leave open for the purpose, in the hope that In that way they can produce the same effects as the great Dutch painter. "By copying his methods they hope to achieve the" same results. Thl» is not art. If, Instead of copying others, they reproduced a portion of their Inner selves they would be creating something mora valuable than all the Rembrandts ever painted. "To transfix the emotions of the sout on canvas or paper Is art; to record the Image received on the retina of the eyo is only apishness." The secessionists hold that the aim of the artist should be to reproduce, not what he sees, but what he feels. Don't paint a rose, they say; paint Its fragrance. Hence you have a picture ef a smell. In stead of carving a bird In stone, repro duce its melody. In other words, the artist should try to Illustrate the sensa tions, emotions and feelings his subject arouses In him rather than to make an exact duplicate or replica of It. Hence some pictures of human beings that those who have not awakened to the nsw Idea In art cannot understand. The secessionist sees a geranium In a prosaic earthenware pot, and Instead of transferring the Image his eye re ceives to paper or canvas, which he is quite competent to do. he prefers to translate on paper or canvas the sensa tion aroused In his soul. He prefers to paint the geranium's smell or the hard fl r we ° Pot or any other ab stract idea which Impresses him most. and though every one would Interpret the re sult In a different way, that Is quite Immaterial to the artist. This Is the sort ot work the secessionists are now doing, and It Is obvious that as they develop the results will be even more astonish ing. There Is really no limit to the heights they may attain. They may transfix high C to the canvas, or give us a speaking likeness ot chocolate flavor. When we are satiated with hearing grand opera we may adjourn to the studio and see It rendered In oils. Max Weber, a lead ing secessionist, has painted a picture of a woman w ho Is made up entirely of cones. Her feet are cones, her lower legs are another set of cones, her body below the waist Is a cone, with the broad part down, the upper part of her body Is a cone turned In the other direction, and so on. All tlie sections of her body •re cones of various slses. It is most In genious. - An Inquirer ap proached a secessionist artist and asked why a woman should be repre sented thus.. The se . , , . DSestonlSt answered: That picture represents something In the artists mind. If thers Is not something tn your mind that under stands It It Is ussless to Inquire about The landscapes of the secessionists aro as peculiar as their human figures. These landscapes beat* little resemblance to nature, as It appears to the ordinary eye. They are amasing splashes of brill iant, formless color. It Is obvious to even the commonplace eye" that some of them contain very attractive color com binations. "It Is filled with exquisite harmonies," Is the usual remark of a secessionist con cerning his own landscape. Boaton Would Not Tolerate Macmonnies'e Statue of 'the Bacchante." The African Bushmen Thought That This Was Art, and Decorated Their Cave Walls with Such Paintings— They Were the J. Plerpont Morgan Collections of Their Age.