The Relation of Art to Nature

The Relation of Art to Nature
by John W. Beatty
New York William Edwin Rudge 1922
Copyright, 1922 by John W. Beatty
To my gentle wife this little volume is affectionately dedicated.
In his very convincing and lucid treatise on the fundamental principles of art, John W. Beatty gives us a most absorbing theme to follow—the relation of art to nature, as expressed in their own words by artists themselves, of different times and creeds; with, too, the opinions of philosophers and men of letters.
Himself a well-known painter, Mr. Beatty has been for almost thirty years the enlightened Director of Fine Arts of the Carnegie Institute, where, alone in our whole country, are held annually International Exhibitions of Art. Much of his life has thus been spent in intimate association with the very best painters and sculptors of our generation, and his and their opinions and observations are here to be read with much pleasure and profit by every one interested in art.
Mr. Beatty is quite right when he says, “Not many able artists have recorded their opinions.” In conversation, or on the impulse of the moment they may often speak with great beauty and clarity of expression, but nearly always tersely and to the point. On the other hand, the man of letters is more given to analysis and finds more words, and more beautiful ones, to express his meaning.
Analysis is perhaps a dangerous thing for the craftsman to toy with. He must approach nature directly and simply, with concentration that is absolute. He dissects only that particular fragment of nature which is before him, and that unconsciously. The precious sensation of closeness to nature is so fleeting and so fickle, so often not there at all, and so frightened, that it is easily scared away by the cold voice of the man with a rule to follow. The ever changing aspect of nature, be it man or landscape, makes the first impression quickly recorded in the thumb-box sketch, or with a dozen lines on the back of an envelope, an invaluable document. Again and again in the painting of a picture we refer with respect to this first strong impression of nature.