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Seeing with new Eyes.—Presuming that by the term “beauty in art” is always implied the imitation of something that is happy—and this I consider to be true—according as an age or a people or a great autocratic individuality represents happiness: what then is disclosed by the so-called realism of our modern artists in regard to the happiness of our epoch? It is undoubtedly its type of beauty which we now understand most easily and enjoy best of any. As a consequence, we are induced to believe that this happiness which is now peculiar to us is based on realism, on the sharpest possible senses, and on the true conception of the actual—that is to say, not upon reality, but upon what we know of reality. The results of science have already gained so much in depth and extent that the artists of our century have involuntarily become the glorifiers of scientific “blessings” per se.

Seeing with new Eyes.—Presuming that by the term “beauty in art” is always implied the imitation of something that is happy—and this I consider to be true—according as an age or a people or a great autocratic individuality represents happiness: what then is disclosed by the so-called realism of our modern artists in regard to the happiness of our epoch? It is undoubtedly its type of beauty which we now understand most easily and enjoy best of any. As a consequence, we are induced to believe that this happiness which is now peculiar to us is based on realism, on the sharpest possible senses, and on the true conception of the actual—that is to say, not upon reality, but upon what we know of reality. The results of science have already gained so much in depth and extent that the artists of our century have involuntarily become the glorifiers of scientific “blessings” per se.

Approximate author period: c. 1872 AD · industrial