VITAL ART

Evening Post, Volume CXI, Issue 100, 30 April 1931, Page 6

VITAL ART

CHANGING STANDARDS

MR. PERKINS'S ADDRESS

"The greatest of New Zealand's ctiffioultics mi art are the lack of coinpetir' 'tion. and criticism," said Mr., Christopher Perkins when addressing tho Art. Club recehtly. '" There is practically no technically expert criticism, and as thoao who are running artistic aiid musical magazines are finding out, it is difficult toi introduce any without creating misunderstandings. Most of the criticism; I have heard and read here consists of a statement -of the1 critic's personal likes and dislikes. Wo don't want to know about the critic; wo want to know about the worka under review. The critic.should allow himself to react to' the artist's work as far as possible, attrinrpt to , penetrate his intentions, say, where these intentions aro noble or, cheap,, original, or derivative, etc., and comment on the means employed to realise • them. This required special training and a mentality different from that of the creation* artist. Ono good critic you always hay is yourself; you -\ alone- know what you set •ut to do and whether you havo realised your intentions —whether, indeed, you. knew or had any plan at all.- If not, scrap the- work and liegin again. .THE UNIVERSAL. "Whether we like it or.not, wo ure part of a changing- world. I remember that, on my last visit some of you asked me whether I admired the work of Picasso /Epstein and others, and were a little shocked at my answers. But who am I that I :sliould be expected to differ from everybody else and pooh-pooh the most typical expressiojts of this age? I understand them because \ have grown up amongst them, and find them vital and stimulating. Why should we have narrow and personal tastes? Surely 'it is only in. sinking your individuality in the uni versal, as tho religious persons says in God, as the poet says in humanity, as the scientist says, in natural law, that you1 can accomplish any thingArtists who deliberately seek a personal expression, a personal touch, defeat their.own onds. Cut yourself off from, tho life of to-day on tho grounds that it is! not 'picturesque' and your art will die. Art like life is alive and evoMng, looking for frosh outlets and fresh material. It is strange that amateuri artists, as a class, aro so timid and conservative in their work. The professional may well be forgiven, if he is dependent on an existing market for his Tsread.^for continuing' in a rut, which ho has .found remunerative. Whereas the significant experimental work, which involved breaking fresh ground and often insulting established conventions, is done by the starved professional, the amateur often has paints, time, intelligence, and natural ability, and lacks nothing but the moral courage to pleaso himself." . EMOTIONAL TRUTH. Mr. Perkins . then gave- a detailed criticism of tho exhibition of works by tho members of the club. In his analysis he concentrated on the problem of design rather than on that of representation. The reaction during the last century,' he said, away from interest in representation ("naturalism," "impressionism" towards "postimpressionism" and "cubism") was not caused only, by competition with photography.. It was ■ dictated by the conviction th;it skFll in representation, and truth of tone, was all very well as a servant of the designer, but in itself was a. JoWer and more materialistic aim. ; Whereas the laws of harmony, and design were deeper and more spiritual cmotioJial! truth was higher' than liticral fact, and tho painter was often driven to introduce things into his picture which could not really be seen simultaneously, in order to assemble the constituents of his emotional es.perience. example of this was well-known "Rain, Steam, aud Speed."