Pictorial Photography in America 1922
Nonfiction, Religion & Spirituality, New Age, History, Fiction & Literature
| Author: | Pictorial Photographers of America | ISBN: | 9781465545275 |
| Publisher: | Library of Alexandria | Publication: | March 8, 2015 |
| Imprint: | Language: | English |
| Author: | Pictorial Photographers of America |
| ISBN: | 9781465545275 |
| Publisher: | Library of Alexandria |
| Publication: | March 8, 2015 |
| Imprint: | |
| Language: | English |
Art that endures is sincere. It is universal in its appeal though it may have been produced in a remote corner of the world by one who was unacquainted with the work of artists. I remember going with a friend into a picture gallery in Chicago, where an artist—I think his name was Bradford—was showing some sketches he had brought back from the arctic regions. “How true these are” I exclaimed. “How do you know?” said my companion, “you have never been to the North Pole.”“That is not necessary” I rejoined. “These studies have the truth written in every inch of them.” The work proclaimed the sincerity of its maker. He who reverently observes life and wrests from its verities those elements which are in tune with his “ego”—transposes these into some concrete form without the damning desire for self aggrandizement, pretense, or mere seeking for originality—is building on good foundations. It is from an over-weening desire for originality that most of the affectations of so called “Modern Art” proceed. Natural individuality—the sincere personal vision of the artist—is an inherited asset. His work is the acquiring of a technique, the constant patient practice and experiment in his particular craft. This unending exercise gives the artist power to state his message clearly—in the simplest way
Art that endures is sincere. It is universal in its appeal though it may have been produced in a remote corner of the world by one who was unacquainted with the work of artists. I remember going with a friend into a picture gallery in Chicago, where an artist—I think his name was Bradford—was showing some sketches he had brought back from the arctic regions. “How true these are” I exclaimed. “How do you know?” said my companion, “you have never been to the North Pole.”“That is not necessary” I rejoined. “These studies have the truth written in every inch of them.” The work proclaimed the sincerity of its maker. He who reverently observes life and wrests from its verities those elements which are in tune with his “ego”—transposes these into some concrete form without the damning desire for self aggrandizement, pretense, or mere seeking for originality—is building on good foundations. It is from an over-weening desire for originality that most of the affectations of so called “Modern Art” proceed. Natural individuality—the sincere personal vision of the artist—is an inherited asset. His work is the acquiring of a technique, the constant patient practice and experiment in his particular craft. This unending exercise gives the artist power to state his message clearly—in the simplest way
