Tonalism usage 1916 Henry Poore
Lecture by Henry Rankin Poore, A. N. A. At the Boston Art Club last January, January, before an audience composed of artists, laymen and a number of photographers, photographers, Henry Rankin Poore, author author of Pictorial Composition and the Critical Judgment of Pictures, delivered delivered a particularly-prepared particularly-prepared particularly-prepared lecture, "Art and the Layman.'' In the course of his remarks the speaker sought to prove that the average educated person person knows more about art than he thinks he does, and then considered the fact that he ought to know more than he knows he,-does. he,-does. he,-does. He declared thatUhe layman's judgment of art is not biased by the means, so impor tant to the artist. He does not know art through a " f ormula of tonalism, impressionism or futurism,' but meets the broader question of art, having the same point of view because he has ac quired most of the principles at schooL By this is not meant tne art now taught in the public schools, but rather .the principles underlying pro duction, all of which are to be found in the old rhetoric. He discussed the added difficulties which embarrass the painter from which the literary artist is free. "While good literature may plume itself in having its 'winged words - speed directly to their goal, elements have entered into the picture picture unbidden but sometimes welcome, welcome, and others on which the artist has counted have strangely failed to register. It Is safe to say that rarely has a picture absolutely expressed the first thought of its author." The speaker makes a plea for study in the schools of the great principles of art which may be applied to all the arts in common, as to literature, music, painting, sculpture and architecture. architecture. These principles are not even taught in the art-schools, art-schools, art-schools, which are really places for the study of the technical problems of art and do not touclr its higher significance. - - Mr. Poore closed by naming a number number of the popular misconceptions of art, reconstructing the old dictum, that, beauty is truth,- truth,- into "beauty is unity"; touching uppn idealism and realism and scouting the fallacy that In painting there is "only one way."