This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 Excerpt: ...the consequent scattering of the attention of the public in modern times. It would be a merciful thing if some professor at the Ecole des Beaux Arts would lecture to American students on nationality in art, and assure them that America has a genius of her own, which inevitably must, and really does, appear in the fine arts for good or for bad. He should tell them that no Frenchifying of themselves, beyond what may be called the student's saturation-point, will avail to give them a niche in the national temple of fame. As a college is a place to get, not ideas but methods of working, so foreign art-schools are places to learn technique, not art; and it may be seriously questioned whether the native schools have not already greatly diminished even such usefulness to American students as the schools abroad have had hitherto. Now, though no professor has said this publicly, yet we find other Frenchmen inveighing often enough against American artists for being un-American, for copying the Europeans. Their ignorance of the United States, however, and especially of the complicated relations that Americans bear to Europeans as parts with the latter of the same civilization as their own cause their strictures to be of no avail. But those people in France and England who realize that America cannot evolve a purely redskin literature and art begin to suspect that, in the fine arts at least, she has something more to show than bald imitations of European masters. It is a fact that New York has developed painters of strong original genius from men scarcely touched directly by foreign schools; certainly not influenced permanently by residence abroad. And, moreover, in New York battles have been fought which are of the utmost importance to the health of American art. In n...
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