1930-04-09 — Page 6

Socks

with

Character

and

Distinction.

Cleverly designed in an almost infinite variety of anasual patterns.

Lisle thread, sük, and silk and wool mixtures included in the dew stocks, all worthy of your vestigation.

Prices range from $2.25 per pair. LESS 10% DISCOUNT FOR CASH.

are

in-

Mackintosh's

W

し

The Comfort of Coolness IN the heat of a sun-scorched

day there is no comfort like that of a fresh, cooling breeze. Exililalaridge relief may be yours - by merely turning the switch of a Westinghouse Electric Fan. Westinghouse Electric Fans are noise- less and efficient, rendering an excell- ence of service such as only the West- inghouse electric motor can supply. There is nothing to equala cool breeze on a hot day-neither is there an elec.

tric fan that equals the Westinghouse,

Sole Distributor:

REISS MASSEY & CO.,

7, QUEEN'S ROAD CENTRAL

Hose KONG.

Westinghouse

WHITEAWAYS

HOUSEHOLD REQUIREMENTS SHEETS & PILLOW CASES.

MARPLE

SHEETS

We stock these well-known Eng lish Bheets in all weights, qualities and Sizes.

'Prices from

$12.15

to 17.50

a pair.

SHEETS & PILLOW CASES WITH COLOURED HEMSTITCHED BORDER These are quite the latest. Can be supplied with Lemon, Blue, Helio or Nil, H.S. Border.

***

$15.95

Bize 2 by 3 yards

by 6 yards $18.95 PILLOW CASES MATCH 20 by 30 inch $2.95 each:

FIRST FLOOR SHOWROOMS

WHITEAWAY, LAIDLAW & CO., LTD.

→

THE HONG KONG DAILY PRESS, WEDNESDAY, APRIL 9, 1930.

IS ART ESSENTIAL TO MODERN LIFE?

EMOTIONAL REACTION BY ORDINARY MAN.

INTERESTING LECTURE AT THE HONG KONG UNIVERSITY.

A very interesting lecture on Artists place in Modern Life" was given by Mr. William Noise before the Faculty of Arts Association at the University last night. The speaker traced the history of art from Greek and Roman times to the present, and should the very important influence that it has had on the life of the different nations. He deplored. the fact that Art had been to a certain "extent placed in the background by the commercial tendency of modern life.

HISTORY OF DIFFERENT SCHOOLS."

¦

of Art. The new view must be con- sidered comprehensively, or we are in danger of losing sight of the "Essentials of Art."

What is Art?

sky painted blue for the first time. It is in his works we see the first attempts and excellent attempts many of them are-to portray living things in natural surroundings. Further on comes Fra Angelico, the frst of the imaginative painters, the visionary, who carried still fur- ther the advance_made by Giotto. And then comes Paolo Uccelli who was the first to apprehend perspec- tive. It is his famous picture, "The battle of San Remo "(in the National Gallery Landon) we see for the Arst time an attempt to deal with foreshortened figures and pic- torial perspective, and so, on to Leonarde da Vinci in whose pic tures we see the first introduction af definite light and shade. And what a genius Leonarde was-art- ist, sculptor, engineer, mathema... tician, architect and musician-and supreme in all these things!

Michael Angelo.

The lecturer said in part

· Art

is a fascinating study a subject of absorbing interest. Its fascination is, I think, due very largely to its controversial nature.

The obvious question arises, I suppose there are few subjects. What are the ousentials of Art 7. around which is centred so much and how are they determined. controversy, or, upon which such These thoughts will carry us still widely differing ideas is held and further to a more comprehensive taught by its leaders and teachers, question. What is Art itself 1 To There is no time, this evening to it an essential part of life 1. What devote to the examination of these do we mean when wo speak of differences in detail, but, I suggest | Art? I shall try to answer these we have only to compare the Con questions, and at the same time ception of Art as it is expressed endeavour to explain why the in the work of such artists as widely differing views of it exist. Epsten, Nicholson, Sickert, Fry and Nash, to name at random a few representatives of the advanced

First of all then, “What is Art ?” modernist school, with that ex and is it an essential part of life! pressed in the works of representa I do not propose to examine the tive artists of the Traditional or many theories put forward by Academical school, as Knight Sarwriters and thinkers or even artists gent, Dicksee, and Collier, to realise

as to "What is Art," for most, if how utterly opposed they are, and

not all of them are based upon such how difficult it is to reconcile such

terms as Beauty,-Nature-Truth conflicting ideas upon the same sub to Nature,-Pleasure, Joy," terms

Then the great Michael Angelo, ject. There are many breakaways which are in themselves capable of Artist and Sculptor, bringing Art from the Traditional or Academical many interpretations, and which

to its perfection as we have it in school of thought, the more in have been the subject of argument

the Traditional school of modera fluential and better known being from Plato to Ruskin, and Roger times. Raphael, the youngest of Impressionism, Post impressionism Fry of today, and little, if any

them all, came when Art had reach- Vorticism and Cubism. Both Vor-thing, gained. It would, in my ed its zenith; he had no new ticism and Cubism are now losing opinion, so far as this talk is con- ground to break, no new ideas to ground for most of the exponents cerned, serve no purpose. I prefer spread; he had to maintain the and followers of these schools have to take a wider view, leaving the standard already reached, which be modified their views so much as to fine distinctions to more subtle in did so splendidly. Raphael was a leave them unclassified and up-telligences to determine, and find pupil of Perugino, who was one of attached to any... The uncompromis-

the lesser masters contemporary an answer which, although it may

da ing and hostile attitude of the still be very inadequate to fill the with Lecrarde

Vinici and various schools of Art culture to bill entirely, will best fit in with Michael Angelo, and it is interest wards each other has reduced Art modern life. I find that answer in ing to note the fact that Perugino .to Chaos.

Emotion." Art is Emation, the was the first to specialise in com- In these days of hustle and keen deliberate communication of feel-mercialisation of Art. He was the competition for existence, the averings. It has heen said I forget by Erst, so far as is known, to make a age person is much too occupied whom "That to pass from percep business of exporting his work to with his daily business to devote tion to intuitive expression is the other countries. The whole story time to the study of Art. He ex-artist's distinguishing gift, and I of Art of this period shows how pects the experts and the authorita- believe that to be true. It would inseparably Art was bound up with tive critics to separate the wheat not be dificult to give you marg the life of the people, for it was from the chaff for him, to guide examples of this in great works of confined almost entirely to religion, him, and to point out the things Art. Some years ago the catalogue portraiture, and to the telling of most worthy of his attention, and

of an important exhibition of Pic-stories. thus it is we and the Press fulfilling tures by some advanced Modern Coming nearer to our own time this function in their publications, Artists bare this inscription" We I think we may say that the perio by the critiques on Art matters.

no longer ask what does this repre- which saw the French Revolution It is here the man in the street seat, but what does it make s saw leo a great change in Art, find himself in a maze of contra feel. This appears to me to sum

the fundamental difference being dictory theories. Pictures and erulpture, which personally he may find lacking in refinement, or even intelligence, is praised by respon sible and able critics as works of Art, whilst equally responsible erities repudiate them.

I do not intend to discuss the attitude of the general public to wards Art, except, to say the public point of view is almost en- tirely ignored by the critica as being outside the pale of considera- tion. The bitter controversies.be- tween the authoritative critics and also the attitude of the public to ward the sculptured "Rima" by Epsten, and the more recent con troversies over the same artists sculpture of night and morning, will illustrate what I refer to With all this muddle and chaos amongst artists themselves, can we wonder at the lack of general in- terest in Art by the layman!

Value of Art Culture.

up the essentials of Art, which are that previous to the French Revolu just these attributes in Pictures, tion. Art, although reflecting the Sculpture, Music, Literature, and life of the time, was essentially a Architecture, which move us pro-aristocratie Art, created for Kings foundly, and which set up in some and Princes, for the Irce citizens unexplainable manner the sym- and for the Church. It was pre pathetic reaction of our emotional dused by artists who were in sym self. Of course, this emotional re-pathy with their public, and who action may be little or much, but we may be sure of this, that all great Art possesses that indefinable power to stir our emotions through the sense of sight or hearing, to joy or sadness, netivity or repose. Rhythm, Colour, Design, Balance. Vision, are some of the attributes necessary in works of Art, but of all, Rhythm is the key-I do not say

produced what that public required. The public on their part, under stood the Art produced for them.

The revolution was the destruc- tion of privilege. David" the revolutionary painter, who was at that time dominating French Art, was virtually a dictator of. Art schools and teaching. He destroy ed-at any rate in France--the it is the most important of the traditions of painting so thorough- essentials, but I do say, it is they, that the next generation found one thing which must be present to themselves without any traditions complete the appeal. Art isnt all. They had not only to work emotion and emotion is its effect..

Greece and Rome.

"Is it an essential part of modern life! The histories of the cace great Empires of Greece and Rome furnishes us with the best possible example of the value of Art in life.

KAIPING HOUSEHOLD COAL

in Lots of not Note Reduction in Prices.

less than

-tom- Delivered to Peak District

| (above Bowen Road), $23.00 par toa. Delivered « to Bowen Road and Lower Levels, $21:00 per ton. Delivered to Pokfulum Rosd, $23.00 per ton..

Delivered to

Kowloon, HƏM AN

$19.00 per ton.

For Price Apply to

Ordars should be sent In writing not

by talophone

it least 24 hours before the Coal is required.

All orders must be as onsspanied by Cash, Cheque,

or Compra- dore Order payable. te **The Kallar Mining Ad ministration"

THE KAILAN MINING ADMINISTRATION

BODWELL I CO. LTD. Arents Hong Kong

HONGAY SMOKELESS EGGS COAL

FOR":

HOUSEHOLD USE.

KEEP THE HOUSE CLEAN AND NEATI NOTE CHEAP PRICES :- In lots of not less than half-ton; delivered to

PER TON..

Peak District (above Bowen Road) Bowen Road and Lower Levels ... Pokfulum Road Kowloon

$28.00

$21.00

$28.00

$18.00

Orders should be sent in writing, not by Telephone, at least 24 hours before the coal is required, and orders must be accom. panied by cash, cheque, or compradore order payable to SZE WAI & 00.

Please apply for prices of other descriptions of coal

for bunker, factory, and other purposes.'

TELEPHONE Ro. C. 500.

SZE WAI & CO.

48, BONHAM STEAND WEST HONG KONG. (CANTON BRANCH:-SZE WAI & CO., ToK YU SUM HOLD, CANTON,

*PEOSE No. 13650.) ·

RIGHT TURN!!

LEFT TURN!!!

THAT'S all for a coupla times on BELLO STROPPING MACHINE and your bluntest blades shaves with the keenest edge. "BELLO" tackles all kinds of gillette-type blades.

Go to the Leading Stores for a Demonstration or come direct to`

NOX-ALL TRADING COMPANY,

Sole Distributors

10, QUEEN'S ROAD CENTRAL.

Expressionist".

1880m2-

for a new public who did not under keep pace with the rapid advance great extent; they were found by stand or care for Art, but they had of industrial and scientific produe many to be unsatisfying and so to create an Art with which they tion, so that much is produced there sprang up Post Impression endeavoured to interest their new which should be beautiful, and reism. patrons. That was the beginnings fined, but which through lack of times used to decote this school, The value of Art Culture in

of the unrest and division between cultural knowledge is debased and and is I think a much better name, modern life is underestimated and misunderstood because it is not so

public and artist, and the breach made vulgar and florid. The chaos for they believe and practice that 12 widened very considerably of Art, and the quarrels between art is not achieved in copying or readily perceived, and it does not

The marvellous achievements of the produce money. Governments and early Greeks and Romans in Art since, far from France has eman the schools over things that do not in the idealization of nature, or public bodies, and those who bold and knowledge, their magnificientated nearly all the new theories matter is responsible in a large any aspect of nature but of the ex- the nations purse strings, prefer to culture, and the architecture and and isras around which so much measure for the slow dissemination pression and communication of the we of essential art knowledge. Final artist's emotion. The difference is see material results for the expen- sculpture, of unsurpassable beauty controversy centres, and Bo

come to our own times, when we ly, I will, very briefly, endeavour a very subtle one, and is best sum diture of money. Yet modern life which they left behind, bears wit-

find artists and publie still at vari to explain why these differences med up like this. The Impression would not be possible without theness of the greatness their civiliza

ance. The domestic arts, such as exist.

isf, is painting vision; that is, how ennobling and uplifting influence tion bad reached. The history of

furniture making, wood carving, Since life cannot stand, still, and he sees nature. The Post Impres of Art. It would crumble and the decline of those great civiliza-pottery, wrought iron work, etc, since Art is a reflection of life, it sionist or Expressionist is painting decay. The place of Art in modern tions through luxurious and sen- life is certainly, a most important suous living and the debasement of Produced by craftsmen who were is inevitable that some change emotion, that is, how he feels about

artists in their business, filled the should come. The rush and bustle what he sees. one, and worthy of more considera their Art, which in the end led to

Fortcciata are a section that in- tion than is generally given to it. the breaking up of those great map for a time so that the rift was of modern life has produced men

not so apparent, but our modern who cannot he content to stand siat on Art as a science. As the name It seems to me that until some Empires, and the almost utter ex nachine-making industrial civiliza apart and view life as a passing implies they accept the principle semblance of order is brought out tinction of their glericus Art, shows tion, intent upon material progress what they see as it has always been everything is a state of flux as it. pageant, be content to represent that nothing is stationary that of the chaos of Art, and a less how closely interwoven Art was

and mass production, is fast des bitter and uncompromising attitude with life of these times. Little bas of the schools of art thought, to been recorded of the periods of trying this individual craftsman represented; they want and feel that were and that it is scientifically

ship.

they must be part of life itself, that wrong to paint life as static when wards each other is brought about, stagnation, centuries in duration,

not only the peaceful and the placid it is kinetic and so they proceed a Modern Arts. Art will suffer. We ask why should which followed, but the 14th cen

or the beautiful aspects of life exist to express life, by painting things" there be those widely differing tury saw a renaissance, for a new The place of Art in modern life around him, but, the squalor the all moving, Thus we see pictures Conceptional of Art of modern Art had to be created." is by the side of the Chemist and horrors, and terrors, the rush and of blurred portraits, distorted and time Academical or Traditional The little which had survived the the Scientist, to utilise to the best crush of daily life, and these also unrecognizable. This school in fast Art has been built up upon pre- debacle of Greece and Rome could advantage the georgeous and lovely demand reflection in the Art of dying out.

It could not express cepts, and ideas, which have stood not be compared to that which had colours and dyes they produce from their time. How to do it? The anything intelligibly the seat of centuries. Is there so been lost, and few records remain such unlovely material, by the side traditional capons and rules are in- Gubiam: This still lingers with tremendous a value in these modern ed. The three hundred years which of the manufacturer of textile suficient, and cannot be made to us, but as an expression of life by views, that their importance to covered the Renaissance from fabrics, to enhance their beauty, by fit the modern conditions, and to painting it is fast dying out. In life is no great and warrants so Giotto to Raphael, was the cradle the design and pattern which shall we have the following groups of essence it aimed at reducing all. much nitention I cannot, agree and the grave of Art, as we under-be woven into or printed on them, Artists coming into being.

forms of life, and inanimate ob that there is. I think we pay too stand it to-day, for since the death by the side of the mass producer of

jects to the simplest form. The Impressionists, much attention to the views of of Raphael, no Art has been pro furniture and pottery, and all the

leaving out of everything which was individual schools of art thought, daced at least as far as the plas various articles of utility made for Impressionism originally was not essential to adequately describe we invest them with a greater im- tic arts are concerned which has the use of the people, designing and breakaway from the convention of it. Thus in expressing parts of the portance than is their value to Art, excelled the work of Leonarde de making them beautiful, and by re-painting things as they were up human body, arms, legs, head, etc., It is right of course, that we should Vinci, Michael Angelo or Raphael. deeming even the commonest and posed to be, that is, painting things the contours were so simplifed ne endeavour to apprehend new points It is very doubtful whether it has meanest of them from ugliness, hy not as they are actually seen but to become onere geometrical figures... of view or ideas, we should try to been equalled. It is interesting to the ennobling and uplifting in the Artists knew they were. To carry the principle to its logical understand the theories from which pote the coming into being of the fluence of Art. But the public is The Impressionist insists on conclusion meant the elimination of they aro evolved, or to discover the new Art, for modern Art may be too occupied with the business of painting things not as they really nearly all curves, and reducing the conditions of life responsible for said to start from "Giotto," for living, authorities too busy produe are, but as they really look under object to its cubical capacity As forcing them into being. It is he was the first to break away froming contestants for competition in the conditions in which he sees a means of expressing life it exists agreed that we must progress, and the rigid formulae with which Art the world's markets, to pay much them. He imitates adture not as very feebly, but is used very large mould our ideas to the times in at that time was bound up. He attention to the cultural side of a whole, but as he presenter herly, and is fulfilling its proper fune- which we live, but, in doing so wá as the firet Artist to endeavour to material progress, and meanwhile self to his eye in the form of light, tion in designs on textiles, etc. must be careful to maintain a'cor Express life as he ww it around Art and Culture is struggling on, shadow or tone. Then after a time Jass patterns are an adaptation of rect perspective of the whole realm him his paintings we ses the advancing but slowly, unable to these ideas were mastered to. Cubiam,