GROWTH OF AMERICAN TASTE FOR ART.
While to many it has seemed a pity that the Johnston gallery should be broken up, yet this distribution of its treasures scatters the seeds of art education. Besides, the prices obtained at the sale must impress many wealthy men with a conviction valuable to the interests of art; namely, that pictures, like diamonds, are a safe investment, as well as a source of enjoyment and fame. Considering that the times are hard, and that pictures are luxuries, the sum thus paid for art treasures, so soon after the centennial purchases, is a proof of the number of good patrons that can be counted on when works of value are for sale. But the works must be of value. At a former auction in New York "old masters" brought these prices: Madonna Del Correggio, $30; two Murrillos, $160 and $90; a landscape of Salvator Rosa, $55; a Tintoretto, $115; a Guido, $35; "St. John," by Sir Joshua Reynolds, $15—and so on. Every few months we find a so-called Titian or Raphael going for the price of the frame. Such auctions tell a story as emphatic as that of the Johnston gallery.
When the German painters were considering whether they should send canvases to the Centennial Exposition the "Allgemeine Zeitung" reminded them "that their works bring twice as much in America as in Germany." But each successive sale here shows that most buyers now know what is worth getting and what is not, though naturally some painters are the rage who will be forgotten fifty years hence. Still, the cynics are wrong in decrying the eagerness to buy painters who are in fashion. What harm in a millionaire's ordering a picture d'ameublement, to suit a particular room or panel, or in his ordering from the bookseller a hundred volumes of current novels? If the picture be good, whether bought by the foot for furnishing or whether painted under the microscope, its sale may aid the profession of art.
Comparing the Johnston sale with some of the famous auctions of the past four years at the hotel Drouot, we find that in the Paturle collection twenty-eight canvases bought $90,000, being all works of masters. The general prices were not higher than the Johnston prices, but Ary Scheffer's Marguerites brought 40,000 and 35,000 francs; a Troyon, 63,000; and Leopold Robert's admirable "Fishers of the Adriatic," 83,000 francs. The gallery of the Pereires brought 1,785,586 francs, which was rather higher than the Johnston total, but I believe there were more masterpieces. A head by Greuze brought 32,500 francs. The highest prices seemed to be carried off by the Dutch painters, who were in force, and three works by Hobbema, a country residence, a forest scene, and a windmill, brought respectively 50,000, 81,000, and 30,000 francs.
The prices for good pictures, taking into account agreeableness of subject and state of preservation, seem to be much the same in New York and Paris, though French newspapers fancy American taste for art to be at barbarian pitch. They should learn otherwise from the American painting and sculpture in Paris, London, Vienna, Florence, and Rome; they might learn otherwise from the discriminating appreciation of their own artists at such sales as Mr. Johnston's. The worst statuary as well as by far the best at Philadelphia last year was Italian, and some of the worst painting as well as the best was Spanish. There is some monstrous governmental art, no doubt, with us, but as for popular taste, there is nothing in America so vulgar as the cheap glass necklaces, tin spangles, and painted trinkets on the sacred images in the churches of Southern Europe. American travellers speak of the contrast between the beautiful cathedral and its hideous painted images bedizened with trash to which dollar-store jewels are gems of art; and the approaches to a splendid church or castle are very likely bedecked with clumsy, unvolatile angels, most terrestrial and unlovely. It is true that the decoration of temples and the adoration of images, whether under heathen or Christian auspices, has always fostered art; but American popular taste, low as it is supposed to be, would hardly set up in churches statues of painted wood only fit for tobacco shops. In Rome, where American taste is looked down upon, they have annual shows of painted wooden figures of saints and angels, in all hues, each uglier than the other, to be sold for putting upon the altars as votive offerings. In fact, wherever the "Latin race" is, the popular taste runs to blocks of the Virgin and Child resembling the lay figures in a tailor's shop.
The leading thought on this subject is that art has made greater strides in the United States within the past twenty years than for the century preceding. Twenty years ago there was comparatively no art public at all. There were not a quarter part as many foreign pictures here as to-day; there were not a fourth part as many American artists. The department of American water colors has been substantially created within ten years. The facilities for art education have been quadrupled within the same period, and the wealthy who form galleries have multiplied in like proportion. American progress in science and mechanism, though so great, falls short of American progress in taste and American productivity in the fine arts.
Philip Quilibet.