relatively short existence of the art of painting. It is unfortunately
true that the majority of people are not at all interested in the
technical procedure of the making of the picture, but wholly in the
subject matter. If this be pleasing, the picture is apt to be declared a
success. The artist, on the other hand, and to my mind very justly,
looks primarily for what he calls good painting, and a simple statement
of these two points of view explains a great deal of very deplorable
friction between the artist and the willing and enthusiastic layman, who
is constantly discouraged by finding that his artist friend greets his
pet canvas with a cynical smile.

The subject of the appreciation of pictures from a theoretical point of
view is not exactly the purpose of this book. So enormous is it that it
could be dealt with adequately only in a separate volume the writing of
which I look forward to with joyful anticipation. What I should like to
do - and I should be very glad if I could succeed - is to bring the
public a little closer to the artist's point of view through the
discussion of the merit of certain notable works of art. It is my
conviction that it is the manifestations of an artists artistic
conscience which make exhibitions good, and not the question whether the
public likes certain pictures or not. Only by constant study, a serious
attitude, and a willingness to follow the artist into his realm can the
public hope fully to enjoy the meaning of the artist's endeavors.



The Galleries of the Exposition