APPRECIATIVE CRITICISM—AN EDUCATIVE PRINCIPLE—AN ANALYSIS—REALISM IN ART—A RETROSPECT

"Yet when we have said all our fine things about the arts, we must end in a frank confession that the arts, as we know them, are but initial. He has conceived meanly of the resources of man who believes that the best age of production is past."

Appreciative Criticism.—The art of engraving, and particularly wood engraving, has fully justified its existence, and the eminently popular position which it has long held amongst the fine arts of the world. Through the medium of the pictorial press it has diffused a knowledge of the noblest principles of art, and has ever exerted a refining influence even over inartistic minds. For this reason the lack of knowledge concerning some of the essential qualities of engraving as a pictorial art is somewhat remarkable. Even more so when it is considered that never before in the history of the world has such a wealth of illustrative art been produced and brought well within the reach of its humblest patrons.

It is perhaps too much to expect, nor is it at all desirable, that individual preference should be moulded to one common and fixed standard. To some minds the picturesque, though perhaps undignified paintings of the old Dutch masters, would appeal with greater success than the wondrous light and shade of Turner's pictures. Or, again, the astonishing technicalities and intricacies of German wood engraving may stir up a deeper interest and enthusiasm than the simple yet expressive productions of Thomas Bewick. Yet such a difference of opinion may exist only in individual appreciation or taste. The appreciative faculties in mankind are in the main identical.

An Educative Principle.—There is in human life an omnipotent and omniscient educative principle which may, to some extent at least, be rendered subservient to the human will, but which in other respects is as certain in its results and impulses as the course of the planets.

Those who surround themselves with the beautiful in Nature and in Art, whose minds are constantly in communion with the grand and noble purposes they suggest, are infinitely more sensible to their manifold beauties than those of their fellows who persistently disregard, and even repel, artistic influences. Their appreciation of the full significance of any artistic production is deeper, more sincere, and more equable than is that of those who neglect the aspirations of the finer fibres of their beings, and thus allow their higher faculties to become blunted, and their judgments warped. "Verily unto him that hath shall be given," etc.

The most independent and most penetrative imagination is not by any means a free agent. Environment, mental culture, and natural temperament are each controlling influences of variable power; yet there is much truth in the philosophy which declares that "It is as easy to excite the intellectual faculties as the limbs to useful action."

The Artist's Purpose.—A misconception of the artist's aim almost invariably leads to a condemnation of his work. First of all discover his purpose, and then decide upon the success or non-success of his conceptions. The style of their execution, i.e. the manner in which various surfaces and textures are reproduced, is but a means to an end. It is infinitely easier to assimilate a style once its objective has been clearly comprehended.

An Analysis.—For obvious reasons, then, an analysis of the merits and demerits of the engraver's art is not always a simple matter. His work may be an acceptable pictorial record, though not in any sense a picture from an artistic point of view. On the other hand, it may possess artistic qualities in abundance, and yet be far from a truthful record of an incident or scene.

Realism in Art.—It is frequently claimed for graphic art that when it cannot faithfully imitate it is permissible for it to interpret. Quite so; and it is in just such a light that engraving is or ought to be regarded. A picture, whether illustrating a story or recording an artistic impression, is never so great as when it enchants the imagination with an ideal presence. Absolute realism is not always desirable either in pictorial art or pictorial expression. No matter how realistic it may be, it is a doubtful gain to introduce into the composition of a picture a mass of detail which might only prove disconcerting, and distract attention from the main issues of the subject. The partial or complete isolation of a central idea often adds to the vigour and general effectiveness of the whole. Rarely, indeed, does it render it less picturesque. After all, it is not Nature so much as Nature's expression which should be represented. Its infinity of secondary effects, its superabundance of detail, may, often with advantage, be left out.

A Retrospect.—While in this critical mood, it may be worth while noting that the sincere and painstaking work of the old-time engravers is deserving of some praise and an ever tolerant criticism. It manifests incongruities and exaggerated metaphors which are at times painfully unconventional or grotesque, yet they have a directness of representation which admits of no doubt as to their meaning, and bear few traces of a perfunctory art.

"Our arts are happy hits. We are like the musician on the lake whose melody is sweeter than he knows, or like a traveller surprised by a mountain echo whose trivial word returns to him in romantic thunders."—Emerson.