By Henry G. Hartman
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ART AND THEORY by a reference even to its technique, 27 we transform an Hence elusive sensuous-thing into one more crude. the tireless assertion that the scientific viewpoint de stroys the peculiar charm of art even more radically than the chemist or the physicist destroys the direct sensuous character of water. From this standpoint the technique of an art is the mere embodiment of its science, tricks, and tools. These represent the in means whereby certain desired artistic As such, they are the necessary scientific and practical adjuncts.
Some may delight in the adjuncts more than in the direct, artistic results, dispensable results are achieved. but vagary of this kind does not constitute the ruling The properly informed and attuned mind practice. does not confuse them even where they are closely interwoven. We have a more serious problem on our hands, how when we attempt to relate art to its underlying psychology. The technique of an art and the artistic ever, results are closely combined; a mere twist of the hand, a mere shade in a tone or a color, and you convert one into the other.
It is intimated that attention whereas "transfused "the man facts of and newly wrought claims our primary require to be nature" in the crucible of the before they can interest. But, I ask, is it possible that man is so provincial in his interests that in all things great and small he can enjoy nothing but the physiognomy of man? Our interest in a painter s mind" musical composition, then, it would seem, is not a direct interest in tone, rhythm, harmony, and com position, as we in our non-theoretical moments are inclined to think, but merely an interest in psychology or biography.