CHAPTER XXII.The Fine Arts in 1999.The art of Color-photography perfected in 1920. The world’s great artists witness the death-knell of art. The doom of cheap chromos. Nature paints her own matchless pictures. The sculptor’s art remains supreme in 1999. No machine can ever chisel a Venus de Milo. No substitute found for the human voice.Painting, in 1999, had become a lost art, doomed, alas, never to revive. The glorious canvases of the old masters were still highly treasured. There still existed artists who threw their entire souls into beautiful paintings, superb creations of their artistic minds, true in every detail to nature. Although painting as a high art still existed in 1999, yet, as a profession and a means of obtaining a livelihood, it died very much after the manner of wood engraving, when the half tone process was perfected and had come into general use.In the year 1912, after many struggles and disappointments, Prof. Deweyton, of the Montpelier, (Vt.) University, perfected the process of color-photography. This coveted secret, at last, had been wrested from nature. For centuries her beauties had been admired but never had she consented to transfer her own original colors on photographic plates and canvas.When the art of color photography was perfected, the world then had little use forThe Passing of the Artist.easels, palettes and painters. Nature became the Artist of the world and none dared to dispute her sway. At first it was with a feeling of sadness that the world parted with the art profession and its devotees, men and women who had imparted to canvas the world’s historic scenes, the portraits of the world’s great men, enchanting, noble women. The works of these great artists had delighted the children of men for many centuries. Raphael, Titian, Michael Angelo, Correggio, Guido, and other famous artists, had bequeathed their glorious treasures of art to a grateful world, and even color photographic pictures done by nature’s own hand cannot rob these eminent artists of an iota of their fame. It was sad to think that after the discovery of color-photography great artists would lose their prestige, for none can rival nature in her own art.This new process of Nature painting rendered to the world an invaluable service byThe Chromo Affliction Subsides.driving out of the market a flood of cheap pictures and chromos of the most inferior class; pictures that had crept into many homes simply because they were cheap. These afflictions, too often paraded with flash mouldingon the walls of our homes, were driven out by color-photography. In 1950 the old-style chromos were rare; they quickly disappeared from the habitations of men.Through the specially constructed cameras of Prof. Deweyton, life size picturesGlorious Sunset Views.were secured, large landscape scenes, magnificent marine views, were reproduced with the exact colors of nature. Superb sunset views, in a matchless wealth of color, a revelry of gold and crimson, were transferred to canvas by natural process in 1920. This process became the great art triumph of the twentieth century. No human hand had ever attempted with any hope of success to reproduce on canvas the bewitching and mystic effects of the gloaming. Nature with her master hand, dared to reproduce, on canvas, this most difficult of all artistic studies. Michael Angelo, the supreme chief of all living or dead artists, never attempted to reproduce on canvas Vesuvius in active eruption. No human power could do the faintest justice to such a scene and no master of the art ever cared to risk his reputation in the attempt. But in color-photographs Nature reproduced the exact colors of the seething flames as they belched forth from the quivering crater. In 1930 a magnificent picture of Vesuvius, Ætna or Stramboli in active eruption could be purchased for the pitiable sum of $50. Soperfectly natural were the volcanic flames that the effect was startling. The lavaCould Almost Smell the Sulphur.running down the mountain side apparently threatened to set fire to the very walls of the room. A picture of this kind, a feeble representation painted by some eminent artist, would cost over $10,000.The process of color-photography proved invaluable in reproducing human features and expression. Nothing could exceed the perfection the art attained in 1935. Photographic studios were crowded with work. No skill of man had ever transferred to canvas the maiden’s blush, that emblem of purity, a shade Divine which mantles the brow of innocence only. The cameras of 1935 proved equal to that delicate task. The maid caught blushing in color photography blushed on, alas, forever. In detecting criminals, the new art proved invaluable. The Rogues’ Gallery was soon filled with studies in life and deviltry, so natural that one’s first impulse was to reach out for a pair of handcuffs.Although painting, in 1999, and long before that date, had received a severe blow, the sculptor’s art remained unchanged. The sculptor was still supreme in his domain. No machine had yet been found that could take a block of pure Parian marble and carve out a Venus de Milo. Nature had invaded the artist’s studio androbbed him of an honored profession, but nature, great and mighty as she certainly is, had not yet, in 1999, found a way to fashion a block of cold marble into a thing of beauty, an exact image of life. Statuary was still regarded in the twentieth century as the acme of true art. The sculptor had not yet been dethroned; it is doubtful if he ever will be. The new and most ingenious machines of the twentieth century met their Manila on statuary. No machine can everLimits to Inventive Genius.be built that will reason or think. It requires thought, judgment and artistic taste to create a statue. As the artist beholds a perfect model, he becomes thrilled with the love of his art. His heart and hands are guided by fires of ambition and his work excites admiration. The human brain is often duplicated by machinery, but the equal of the human heart, with its subtle emotions, must ever remain a Sealed Book to cold, unfeeling mechanism.The same might be said of the human voice. In 1999, that peerless gift of God to man, that wonderful channel through which all emotions are expressed, had not been uprooted by mechanism. The Pattis, Nordicas and Melbas of the twentieth century were still held in high esteem, commanding princely stipends. The domain of all mechanical music, however, had been invaded to a large extent. Pianos, organs,orchestral and metallic instruments, which had attained a high degree of perfection in the nineteenth century, were generally discarded in the twentieth century. The tendency of the age favored mechanical music. The automatic musical instruments, which in 1889 had already attained a certain degree of perfection, were greatly improved. In the navy cornet bands were discarded and were substituted by large musical machines that played operas, marches, quicksteps, waltzes and patriotic airs with wonderful accuracy, with a volume of sound surpassing the best efforts of efficient brass bands. In the army, the brass band always held its own. The men who composed the band could march and fight, while no automatic substitute could be made to do this.
CHAPTER XXII.The Fine Arts in 1999.The art of Color-photography perfected in 1920. The world’s great artists witness the death-knell of art. The doom of cheap chromos. Nature paints her own matchless pictures. The sculptor’s art remains supreme in 1999. No machine can ever chisel a Venus de Milo. No substitute found for the human voice.Painting, in 1999, had become a lost art, doomed, alas, never to revive. The glorious canvases of the old masters were still highly treasured. There still existed artists who threw their entire souls into beautiful paintings, superb creations of their artistic minds, true in every detail to nature. Although painting as a high art still existed in 1999, yet, as a profession and a means of obtaining a livelihood, it died very much after the manner of wood engraving, when the half tone process was perfected and had come into general use.In the year 1912, after many struggles and disappointments, Prof. Deweyton, of the Montpelier, (Vt.) University, perfected the process of color-photography. This coveted secret, at last, had been wrested from nature. For centuries her beauties had been admired but never had she consented to transfer her own original colors on photographic plates and canvas.When the art of color photography was perfected, the world then had little use forThe Passing of the Artist.easels, palettes and painters. Nature became the Artist of the world and none dared to dispute her sway. At first it was with a feeling of sadness that the world parted with the art profession and its devotees, men and women who had imparted to canvas the world’s historic scenes, the portraits of the world’s great men, enchanting, noble women. The works of these great artists had delighted the children of men for many centuries. Raphael, Titian, Michael Angelo, Correggio, Guido, and other famous artists, had bequeathed their glorious treasures of art to a grateful world, and even color photographic pictures done by nature’s own hand cannot rob these eminent artists of an iota of their fame. It was sad to think that after the discovery of color-photography great artists would lose their prestige, for none can rival nature in her own art.This new process of Nature painting rendered to the world an invaluable service byThe Chromo Affliction Subsides.driving out of the market a flood of cheap pictures and chromos of the most inferior class; pictures that had crept into many homes simply because they were cheap. These afflictions, too often paraded with flash mouldingon the walls of our homes, were driven out by color-photography. In 1950 the old-style chromos were rare; they quickly disappeared from the habitations of men.Through the specially constructed cameras of Prof. Deweyton, life size picturesGlorious Sunset Views.were secured, large landscape scenes, magnificent marine views, were reproduced with the exact colors of nature. Superb sunset views, in a matchless wealth of color, a revelry of gold and crimson, were transferred to canvas by natural process in 1920. This process became the great art triumph of the twentieth century. No human hand had ever attempted with any hope of success to reproduce on canvas the bewitching and mystic effects of the gloaming. Nature with her master hand, dared to reproduce, on canvas, this most difficult of all artistic studies. Michael Angelo, the supreme chief of all living or dead artists, never attempted to reproduce on canvas Vesuvius in active eruption. No human power could do the faintest justice to such a scene and no master of the art ever cared to risk his reputation in the attempt. But in color-photographs Nature reproduced the exact colors of the seething flames as they belched forth from the quivering crater. In 1930 a magnificent picture of Vesuvius, Ætna or Stramboli in active eruption could be purchased for the pitiable sum of $50. Soperfectly natural were the volcanic flames that the effect was startling. The lavaCould Almost Smell the Sulphur.running down the mountain side apparently threatened to set fire to the very walls of the room. A picture of this kind, a feeble representation painted by some eminent artist, would cost over $10,000.The process of color-photography proved invaluable in reproducing human features and expression. Nothing could exceed the perfection the art attained in 1935. Photographic studios were crowded with work. No skill of man had ever transferred to canvas the maiden’s blush, that emblem of purity, a shade Divine which mantles the brow of innocence only. The cameras of 1935 proved equal to that delicate task. The maid caught blushing in color photography blushed on, alas, forever. In detecting criminals, the new art proved invaluable. The Rogues’ Gallery was soon filled with studies in life and deviltry, so natural that one’s first impulse was to reach out for a pair of handcuffs.Although painting, in 1999, and long before that date, had received a severe blow, the sculptor’s art remained unchanged. The sculptor was still supreme in his domain. No machine had yet been found that could take a block of pure Parian marble and carve out a Venus de Milo. Nature had invaded the artist’s studio androbbed him of an honored profession, but nature, great and mighty as she certainly is, had not yet, in 1999, found a way to fashion a block of cold marble into a thing of beauty, an exact image of life. Statuary was still regarded in the twentieth century as the acme of true art. The sculptor had not yet been dethroned; it is doubtful if he ever will be. The new and most ingenious machines of the twentieth century met their Manila on statuary. No machine can everLimits to Inventive Genius.be built that will reason or think. It requires thought, judgment and artistic taste to create a statue. As the artist beholds a perfect model, he becomes thrilled with the love of his art. His heart and hands are guided by fires of ambition and his work excites admiration. The human brain is often duplicated by machinery, but the equal of the human heart, with its subtle emotions, must ever remain a Sealed Book to cold, unfeeling mechanism.The same might be said of the human voice. In 1999, that peerless gift of God to man, that wonderful channel through which all emotions are expressed, had not been uprooted by mechanism. The Pattis, Nordicas and Melbas of the twentieth century were still held in high esteem, commanding princely stipends. The domain of all mechanical music, however, had been invaded to a large extent. Pianos, organs,orchestral and metallic instruments, which had attained a high degree of perfection in the nineteenth century, were generally discarded in the twentieth century. The tendency of the age favored mechanical music. The automatic musical instruments, which in 1889 had already attained a certain degree of perfection, were greatly improved. In the navy cornet bands were discarded and were substituted by large musical machines that played operas, marches, quicksteps, waltzes and patriotic airs with wonderful accuracy, with a volume of sound surpassing the best efforts of efficient brass bands. In the army, the brass band always held its own. The men who composed the band could march and fight, while no automatic substitute could be made to do this.
CHAPTER XXII.The Fine Arts in 1999.The art of Color-photography perfected in 1920. The world’s great artists witness the death-knell of art. The doom of cheap chromos. Nature paints her own matchless pictures. The sculptor’s art remains supreme in 1999. No machine can ever chisel a Venus de Milo. No substitute found for the human voice.
The art of Color-photography perfected in 1920. The world’s great artists witness the death-knell of art. The doom of cheap chromos. Nature paints her own matchless pictures. The sculptor’s art remains supreme in 1999. No machine can ever chisel a Venus de Milo. No substitute found for the human voice.
The art of Color-photography perfected in 1920. The world’s great artists witness the death-knell of art. The doom of cheap chromos. Nature paints her own matchless pictures. The sculptor’s art remains supreme in 1999. No machine can ever chisel a Venus de Milo. No substitute found for the human voice.
Painting, in 1999, had become a lost art, doomed, alas, never to revive. The glorious canvases of the old masters were still highly treasured. There still existed artists who threw their entire souls into beautiful paintings, superb creations of their artistic minds, true in every detail to nature. Although painting as a high art still existed in 1999, yet, as a profession and a means of obtaining a livelihood, it died very much after the manner of wood engraving, when the half tone process was perfected and had come into general use.In the year 1912, after many struggles and disappointments, Prof. Deweyton, of the Montpelier, (Vt.) University, perfected the process of color-photography. This coveted secret, at last, had been wrested from nature. For centuries her beauties had been admired but never had she consented to transfer her own original colors on photographic plates and canvas.When the art of color photography was perfected, the world then had little use forThe Passing of the Artist.easels, palettes and painters. Nature became the Artist of the world and none dared to dispute her sway. At first it was with a feeling of sadness that the world parted with the art profession and its devotees, men and women who had imparted to canvas the world’s historic scenes, the portraits of the world’s great men, enchanting, noble women. The works of these great artists had delighted the children of men for many centuries. Raphael, Titian, Michael Angelo, Correggio, Guido, and other famous artists, had bequeathed their glorious treasures of art to a grateful world, and even color photographic pictures done by nature’s own hand cannot rob these eminent artists of an iota of their fame. It was sad to think that after the discovery of color-photography great artists would lose their prestige, for none can rival nature in her own art.This new process of Nature painting rendered to the world an invaluable service byThe Chromo Affliction Subsides.driving out of the market a flood of cheap pictures and chromos of the most inferior class; pictures that had crept into many homes simply because they were cheap. These afflictions, too often paraded with flash mouldingon the walls of our homes, were driven out by color-photography. In 1950 the old-style chromos were rare; they quickly disappeared from the habitations of men.Through the specially constructed cameras of Prof. Deweyton, life size picturesGlorious Sunset Views.were secured, large landscape scenes, magnificent marine views, were reproduced with the exact colors of nature. Superb sunset views, in a matchless wealth of color, a revelry of gold and crimson, were transferred to canvas by natural process in 1920. This process became the great art triumph of the twentieth century. No human hand had ever attempted with any hope of success to reproduce on canvas the bewitching and mystic effects of the gloaming. Nature with her master hand, dared to reproduce, on canvas, this most difficult of all artistic studies. Michael Angelo, the supreme chief of all living or dead artists, never attempted to reproduce on canvas Vesuvius in active eruption. No human power could do the faintest justice to such a scene and no master of the art ever cared to risk his reputation in the attempt. But in color-photographs Nature reproduced the exact colors of the seething flames as they belched forth from the quivering crater. In 1930 a magnificent picture of Vesuvius, Ætna or Stramboli in active eruption could be purchased for the pitiable sum of $50. Soperfectly natural were the volcanic flames that the effect was startling. The lavaCould Almost Smell the Sulphur.running down the mountain side apparently threatened to set fire to the very walls of the room. A picture of this kind, a feeble representation painted by some eminent artist, would cost over $10,000.The process of color-photography proved invaluable in reproducing human features and expression. Nothing could exceed the perfection the art attained in 1935. Photographic studios were crowded with work. No skill of man had ever transferred to canvas the maiden’s blush, that emblem of purity, a shade Divine which mantles the brow of innocence only. The cameras of 1935 proved equal to that delicate task. The maid caught blushing in color photography blushed on, alas, forever. In detecting criminals, the new art proved invaluable. The Rogues’ Gallery was soon filled with studies in life and deviltry, so natural that one’s first impulse was to reach out for a pair of handcuffs.Although painting, in 1999, and long before that date, had received a severe blow, the sculptor’s art remained unchanged. The sculptor was still supreme in his domain. No machine had yet been found that could take a block of pure Parian marble and carve out a Venus de Milo. Nature had invaded the artist’s studio androbbed him of an honored profession, but nature, great and mighty as she certainly is, had not yet, in 1999, found a way to fashion a block of cold marble into a thing of beauty, an exact image of life. Statuary was still regarded in the twentieth century as the acme of true art. The sculptor had not yet been dethroned; it is doubtful if he ever will be. The new and most ingenious machines of the twentieth century met their Manila on statuary. No machine can everLimits to Inventive Genius.be built that will reason or think. It requires thought, judgment and artistic taste to create a statue. As the artist beholds a perfect model, he becomes thrilled with the love of his art. His heart and hands are guided by fires of ambition and his work excites admiration. The human brain is often duplicated by machinery, but the equal of the human heart, with its subtle emotions, must ever remain a Sealed Book to cold, unfeeling mechanism.The same might be said of the human voice. In 1999, that peerless gift of God to man, that wonderful channel through which all emotions are expressed, had not been uprooted by mechanism. The Pattis, Nordicas and Melbas of the twentieth century were still held in high esteem, commanding princely stipends. The domain of all mechanical music, however, had been invaded to a large extent. Pianos, organs,orchestral and metallic instruments, which had attained a high degree of perfection in the nineteenth century, were generally discarded in the twentieth century. The tendency of the age favored mechanical music. The automatic musical instruments, which in 1889 had already attained a certain degree of perfection, were greatly improved. In the navy cornet bands were discarded and were substituted by large musical machines that played operas, marches, quicksteps, waltzes and patriotic airs with wonderful accuracy, with a volume of sound surpassing the best efforts of efficient brass bands. In the army, the brass band always held its own. The men who composed the band could march and fight, while no automatic substitute could be made to do this.
Painting, in 1999, had become a lost art, doomed, alas, never to revive. The glorious canvases of the old masters were still highly treasured. There still existed artists who threw their entire souls into beautiful paintings, superb creations of their artistic minds, true in every detail to nature. Although painting as a high art still existed in 1999, yet, as a profession and a means of obtaining a livelihood, it died very much after the manner of wood engraving, when the half tone process was perfected and had come into general use.
In the year 1912, after many struggles and disappointments, Prof. Deweyton, of the Montpelier, (Vt.) University, perfected the process of color-photography. This coveted secret, at last, had been wrested from nature. For centuries her beauties had been admired but never had she consented to transfer her own original colors on photographic plates and canvas.
When the art of color photography was perfected, the world then had little use forThe Passing of the Artist.easels, palettes and painters. Nature became the Artist of the world and none dared to dispute her sway. At first it was with a feeling of sadness that the world parted with the art profession and its devotees, men and women who had imparted to canvas the world’s historic scenes, the portraits of the world’s great men, enchanting, noble women. The works of these great artists had delighted the children of men for many centuries. Raphael, Titian, Michael Angelo, Correggio, Guido, and other famous artists, had bequeathed their glorious treasures of art to a grateful world, and even color photographic pictures done by nature’s own hand cannot rob these eminent artists of an iota of their fame. It was sad to think that after the discovery of color-photography great artists would lose their prestige, for none can rival nature in her own art.
This new process of Nature painting rendered to the world an invaluable service byThe Chromo Affliction Subsides.driving out of the market a flood of cheap pictures and chromos of the most inferior class; pictures that had crept into many homes simply because they were cheap. These afflictions, too often paraded with flash mouldingon the walls of our homes, were driven out by color-photography. In 1950 the old-style chromos were rare; they quickly disappeared from the habitations of men.
Through the specially constructed cameras of Prof. Deweyton, life size picturesGlorious Sunset Views.were secured, large landscape scenes, magnificent marine views, were reproduced with the exact colors of nature. Superb sunset views, in a matchless wealth of color, a revelry of gold and crimson, were transferred to canvas by natural process in 1920. This process became the great art triumph of the twentieth century. No human hand had ever attempted with any hope of success to reproduce on canvas the bewitching and mystic effects of the gloaming. Nature with her master hand, dared to reproduce, on canvas, this most difficult of all artistic studies. Michael Angelo, the supreme chief of all living or dead artists, never attempted to reproduce on canvas Vesuvius in active eruption. No human power could do the faintest justice to such a scene and no master of the art ever cared to risk his reputation in the attempt. But in color-photographs Nature reproduced the exact colors of the seething flames as they belched forth from the quivering crater. In 1930 a magnificent picture of Vesuvius, Ætna or Stramboli in active eruption could be purchased for the pitiable sum of $50. Soperfectly natural were the volcanic flames that the effect was startling. The lavaCould Almost Smell the Sulphur.running down the mountain side apparently threatened to set fire to the very walls of the room. A picture of this kind, a feeble representation painted by some eminent artist, would cost over $10,000.
The process of color-photography proved invaluable in reproducing human features and expression. Nothing could exceed the perfection the art attained in 1935. Photographic studios were crowded with work. No skill of man had ever transferred to canvas the maiden’s blush, that emblem of purity, a shade Divine which mantles the brow of innocence only. The cameras of 1935 proved equal to that delicate task. The maid caught blushing in color photography blushed on, alas, forever. In detecting criminals, the new art proved invaluable. The Rogues’ Gallery was soon filled with studies in life and deviltry, so natural that one’s first impulse was to reach out for a pair of handcuffs.
Although painting, in 1999, and long before that date, had received a severe blow, the sculptor’s art remained unchanged. The sculptor was still supreme in his domain. No machine had yet been found that could take a block of pure Parian marble and carve out a Venus de Milo. Nature had invaded the artist’s studio androbbed him of an honored profession, but nature, great and mighty as she certainly is, had not yet, in 1999, found a way to fashion a block of cold marble into a thing of beauty, an exact image of life. Statuary was still regarded in the twentieth century as the acme of true art. The sculptor had not yet been dethroned; it is doubtful if he ever will be. The new and most ingenious machines of the twentieth century met their Manila on statuary. No machine can everLimits to Inventive Genius.be built that will reason or think. It requires thought, judgment and artistic taste to create a statue. As the artist beholds a perfect model, he becomes thrilled with the love of his art. His heart and hands are guided by fires of ambition and his work excites admiration. The human brain is often duplicated by machinery, but the equal of the human heart, with its subtle emotions, must ever remain a Sealed Book to cold, unfeeling mechanism.
The same might be said of the human voice. In 1999, that peerless gift of God to man, that wonderful channel through which all emotions are expressed, had not been uprooted by mechanism. The Pattis, Nordicas and Melbas of the twentieth century were still held in high esteem, commanding princely stipends. The domain of all mechanical music, however, had been invaded to a large extent. Pianos, organs,orchestral and metallic instruments, which had attained a high degree of perfection in the nineteenth century, were generally discarded in the twentieth century. The tendency of the age favored mechanical music. The automatic musical instruments, which in 1889 had already attained a certain degree of perfection, were greatly improved. In the navy cornet bands were discarded and were substituted by large musical machines that played operas, marches, quicksteps, waltzes and patriotic airs with wonderful accuracy, with a volume of sound surpassing the best efforts of efficient brass bands. In the army, the brass band always held its own. The men who composed the band could march and fight, while no automatic substitute could be made to do this.