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Painting, sculpture, and architecture as representative arts - an essay in comparative aesthetics (1909) (14784642632)

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Painting, sculpture, and architecture as representative arts - an essay in comparative aesthetics (1909) (14784642632)

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Identifier: paintingsculptur00raym (find matches)
Title: Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics
Year: 1909 (1900s)
Authors: Raymond, George Lansing, 1839-1929
Subjects:
Publisher: New York : G.P. Putnam's Sons
Contributing Library: Princeton Theological Seminary Library
Digitizing Sponsor: Princeton Theological Seminary Library



Text Appearing Before Image:
to be printed between the coversof a periodical started for the purpose of making suchillustrations popular. We are told that these are speci-mens of a new style of art. In reality, they are specimensof a style of no art whatever, if by the term we mean thatwhich is art in the highest sense ; and this for the veryevident reason, which those who have followed the linesof thought in this so-called unpractical series of essays,will at once recognize, namely, that such products fail torepresent cither mental conceptions or natural appearances.The fad which they exemplify furnishes merely one moreof many inane manifestations of Anglo-Saxon affectation,the same trait, exhibiting the same inability to perceivethe essentially ethic as well as aesthetic connection betweena thing to be expressed and a representative method ofexpressing it which, for years, has made two whole nationsspeak inarticulately and spell irregularly, and, to-day, ismaking so many wear monocles, carry canes dirt-end up-
Text Appearing After Image:
FI3. 154.—EASTER ADVERTISEMENT OF THE GOHHAM MANUFACTURING COMPANY.?35 See page 236. 236 PAINTING, SCULPTURE, AND ARCHITECTURE. ward, and shake hands as if, forsooth, thc\- C(nild not getover habits acquired in clasping the fingers of court ladiesholding on their arms heavy trains at the queens recep-tions. There is no more art in what the draftsmen ofthis Yellow Book suppose to indicate it than there isheart in what so many of their patrons now suppose toindicate a hearty welcome. Failing to obtain an illustration of one of the drawingsof Aubrey Beardsley, the chief offender in the YellowBook, the author has been enabled, through the cour-tesy of the well known Gorham Silver ManufacturingCompany to use their Easter advertisement for 1895 (seeFig. 154, page 235). Though far less objectionable thansome of Beardsleys drawings, it evidently belongs to tlicsame school, and suggests, as they do, the Chinese andJapanese method from which—though without the repre-sentation of significanc

Aubrey Beardsley (1872–1898), he leading English illustrator of the 1890s and, after Oscar Wilde, the outstanding figure in the Aestheticism movement. Drawing was a strong interest from early childhood, and Beardsley practiced it while earning his living as a clerk. Beardsley’s meeting with the English artist Sir Edward Burne-Jones in 1891 prompted him to attend evening classes at the Westminster School of Art for a few months, his only professional instruction.

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