Show BRIGHT BEAMS ARTISTIC autistic FLASHES PLASHES erom FROM ME che PEN OF H 0 TRYON some somme time since we published a few flashes from the artistic mind of mr H 0 tryon scenic aigist of the salt lake theatre wo we understand that many of our readers perused them with pleasure we present another collection of intellectual gems from the same source the higher order of true truo genius usually manifests itself in the child it is cevelo developed ped I 1 in n the man art Is long and time is fleeting the worlds great artists are old with all their power of genius it has required the study and experience of a long lifetime to develop their possibilities As a rule the artist who early develops his genius never reaches a very exalted position his precocity promises great results in the future but they are seldom realized if wa we build a pyramid of band sand eandi the height we can reach 19 fb la 19 proportionate to the width of the base it if that be narrow the pyramid to be bd sure is soon erected but it cannot reach a great height it is so 80 with the human mind if it is not wide deep and comprehensive it cannot rise to great heights or accomplish really great things what we understand by the title a smart man is never a great one the true artist will approach nature with awe reverence and fear it in ia audacious in him to attempt to represent with pigments his feeble thoughts but he cannot help but symbolize the love and awe which nature impresses on every senai senal sensitive tive soul boul he cannot have out door nature in his dwelling so its counterfeit must suffice him there but he will forget when he approaches her all ideas of egotism and proceed to his task with veneration take the shoes from off thy feet for the tho ground whereon thou stan dest desi A Js ia holy ground the simple simplest st object in nature is a thousand times more beautiful than he can paint it the most common weed he cannot imitate the stagnant water by the roadside is palpitating tating with the most exquisite hues the pure ethereal blue and the clear brilliant amber he can merely suggest with his crude pigments bu but t when nature pours its flood of of brilliant sunshine over ove r tace oace of all the landscape lighting uil til up with its maste master r Artist artiste la touch each point of sublimity and beauty arising out from the delicious mystery of its veils of transparency glittering gems in the rivulets sparkling among the streaming silver the grand infinitude of interest bewildering even in its detail massed and thrown together with such power such delicate art think of the beauty of a leaf of a twig twigs of a cloud elond of any object which is purely natures nature na turea s think of all this design this loveliness multiplied into infinity and arranged with natures na tures turea matchless arta art and then think of man in his hi punny efforts to on canvass how poor and pitiful must be the work of the grandest mind in com oni ont bow now small smail a thing an artist beems seems to himself when ho he throws thrown aside his vanity and tries to catch somo some inspiration from natures naturals art I 1 think if we could at stil nil times have natures grandest work before us that no true artist would dare to copy her whoever saw a real art that was not ashamed to have you look over his while sketching outdoor out door nature he knows lie he la 18 guilty of an imperil nence yet he ha cannot help it he must try he must study her he ha must adore her and he must realize the pain and humiliation of feeling how poor are the powers of the human mind but bat when he gets that same bame sketch in his studio how vain he is where he has not nature present to show him hla hia feebleness the artist should never lot sentiment run away with him ho he should consider every poetic and sentimental thought to be precious to him and to the world and uhe ute it legitimately on his canvass never forgetting that this Is ia a practical world and that tangible and practical means are the tho only ones that can disseminate sublime and beautiful thought Is not shakespeare an example in proof he put his grand poetic thought into his plays playa he did not waste it among the low associates so socia tes whom he seemed to prefer as companions I 1 cannot help thinking that if artists woula be more practical in their ordinary lives and more poetic on canvass their influence being better directed would be far greater do not nop no sacrifice c r grand object for a petty patty one it Is ia of greater importance that the graceful wide spreading undulating infinitude of glittering twinkling foliage of that grand old elm be fitly expressed than that birds nesi neau be given conspicuous and undue prominence among the boughs you did it until it was pointed out to you nature did not intend that you should seo eco it still lebs less that you should sacrifice that tree for it the bird knows whore where it is 19 that Is ia enough nature intended that you should see bee the tree when you paint a trees tree paint a tree and paint the nest some other time but then you dont donst want the tree dont falsify nature by attempting with your petty vanity to improve upon her tien work you will fall fail because nature as an artist to is preeminently eminently pre superior to you 5 |