Excerpt from Schools of Painting
The last five hundred years, which may assume as the epoch of modern painting, have shown a tendency constantly growing to separate the fine arts from practical life and to give then over to a world of their own where the connection between them and the actual needs and necessities of man are but slight. Like the higher mathematics, a good deal of pictorial work remains a sealed book to all but those who make of it a serious study. A dialect of its own, naturally invented by artists and connoisseurs, aids the inevitable though gradual alienation of the mass of the people from an understanding of the purpose of the painter when he attempts anything beyond a likeness, a landscape or marine, an anecdote or a bit of still-life. Lacking the habit of studying pictures, and ignorant of the patter in which they are usually discussed, the ordinary man feels that he is out of the game. He is as much at a loss when reading the text of art criticism as he surely is who has never studied or played ball, when he takes up a newspaper and tries to navigate the torrent of slang which seems to be demanded by the devotees of sport.
Although a similar divorce between ordinary and professional language, between the common terms known to all and the sometimes barbarous and far-fetched words of the adept, is quite usual, there can be small doubt of its questionable character, so far as the arts are concerned.
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