By George Boas
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But let us sim- plify matters. The amateurs buying public. of the novel are not of course the great We shall see later on the authority which possesses and which prevents anything strange from attaining extensive success. Thus the paint- the habitual ings in Matisse's so-called jauve manner; the abstractions of Bracque; the atonal music of Schoenberg; the architecture of Le Corbusier; most of the literature of Gertrude Stein, in general still still remain the pleasures of a few. People prefer the painting of Cabanel to that of Courbet, hang carbon prints of the Pre-Raphaelites and think themselves daring if they venture as far from the Ecole des Beaux Arts as Monet.
3) Milton found Paradise Lost useful, for instance, morally edifying, i. , the artist found his work of art useful. ) 4) I have found Paradise Lost useful, i. , the observer found the artist's work of art useful. ) 5) Milton enjoyed * composing Paradise Lost, his artist work of enjoyed producing value of the artistry from the 6) Milton's daughters watching him compose 1 A nobler word can be it; or i. artist's art. i. , the else enjoyed the observer enjoyed substituted for ''enjoyed*', if preferred.
When bent, it accepts its shape as natural and nitely plastic desirable freely no reason why the unbent should not enthusiastically submit to the same operation. and and sees A PRIMER FOR 20 4. The Our artist's CRITICS and the observers point of mew. between two third necessary distinction is that points of view from which artistry and works of art can be judged, the point of view of the artist himself and that of the observer. The importance of the distinction arises from the soning of many critics that what they as observers and works of in artistry in the artist's art in turn speak in public their one find must have been included purpose; that the feelings a picture arouses them must have been those of the in rea- own much the The painter.
A Primer For Critics by George Boas