Euterpe; or, The future of artMcColvin, Lionel R. (Lionel Roy)
General
Euterpe; or, The future of art
McColvin, Lionel R. (Lionel Roy)
Art
Let us not be misunderstood. We are not asserting that this world with
its many who appreciate the less valuable is worse than the world of
the pre-mechanical era. Far from it. In every way it is better. The
actual quantity of good artistic endeavour is much greater, and every
increase in the numbers of those who appreciate the least worth-while
is a distinct gain to the community and to the individual. Our anxiety
is not so much for to-day as for to-morrow. There is no reason to doubt
that before long practically the whole population will be interested in
some form and grade of art. It is then that the trouble will begin to
assume serious proportions. Let us take a biological parallel. It is
agreed that if good stocks do not increase at the same rate as inferior
stocks they will gradually die out. If, in a world full of artistic
endeavour the good artistic stocks are not as sturdy as the remainder,
they too will in time die out. So long as the commercial and mechanical
factors are allowed full play, the good artistic stocks will be at a
disadvantage, and so the future of the finest elements of art depends
upon the success of efforts to counteract these factors. We must find
means (1) to make the most desirable art more accessible than it is
now, and (2) to increase the numbers of those who desire it. The latter
will serve two purposes: (_a_) it will help us in the first aim; and
(_b_) it will increase the aggregate quality and value of the artistic
life.
VI
We will deal with the second aim first, and it may be termed roughly
“Education”--the process of increasing a man’s ability to enjoy
better art. The last phrase embodies our idea of the function of
art-education. If education does that--improves the range and quality
of his pleasure in the beautiful--it has performed its prime duty.
Needless to say, we are not speaking now of that branch of education
which concerns itself with the training of practitioners--creative
or executive artists. That is quite a different matter, and one of
our first quarrels with the present system is that these two types of
education are not as clearly distinguished as they need to be.
Public-domain text, read in full here on John Shaqi.
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