The photoplay; a psychological study (1916)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE PURPOSE OF ART ofj lie selected materia l. The men and women whom Eembrandt painted were not beautiful persons. The ugliest woman may be the sub- ject of a most beautiful painting. The so- called beautiful landscape may, of course, be material for a beautiful landscape painting, but the chances are great that such a pretty vista will attract the dilettante and not the real artist who knows that the true value of his painting is independent of the prettiness of the model. He knows that a muddy coun- try road or a dirty city street or a trivial little pond may be the material for immortal pictures. He who writes literature does not select scenes of life which are beautiful in themselves, scenes which we would have liked to live through, full of radiant happiness and joy; he does not eliminate from his picture of life that which is disturbing to the peace of the soul, repellant and ugly and immoral. On the contrary, all the great works of lit- erature have shown us dark shades of life beside the light ones. They have spoken of unhappiness and pain as often as of joy. We have suffered with our poets, and in so far as the musical composer expresses the emotions of life the great symphonies have been full of 145