The most interesting things in the work of an artist are lead, most of the time, by intuition. Therefore, I think it’s important to talk about the point of view that would tend to discourage any intellectual research on artistic behavior on the part of the artist. Intuitions are fragile things and could easily disappear if looked into too closely. Also, there is with no doubt a danger that too much technique and practice could stifle the natural intuitive feelings of an young artist only allowing a cold knowledge of the means of expression instead. It is known that the artist, if he has a genuine calling, has a natural awareness, in doing his best, of something, as Ruskin described, “not in himself but through himself.” He considers himself as the agent through whom art finds its way to expression. We can speak of talent as “something that we have,” and speak of genius as “something that has us”. Now, although we may have little control over this power that “has us,” there is still a doubt as to it being the concern of the artist judging if his talent would be developed enough to express whatever it may be given him to express; while it must be left to his own personality to decide how far it is profitable to make any analysis of the elusive things that constitute the true nature of art. As long as the student understands this, and if he really sees that art lessons can only lead to perfecting the means of expression and that the real goal of art is above this and is beyond the scope of learning, he cannot have too much of it. Although he must always be a child before any influence moves him, if it is not with the experience of the grown man that he gets to work and approaches the art of painting or drawing, he will be poorly equipped to make them a means of giving
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others, in the proper form, the things he might want to express. Great works are only done artistically when the creative skills of the artist have a well-informed and trained executive capacity at hand.
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