CHAPTER TEN

STORY-TELLING TO AWAKEN AN APPRECIATION OF ART

The child who is surrounded by good pictures from his earliest years grows to love good pictures, and gaudily colored, cheap ones have no charm for him. His taste has been formed for the fine and true, and nothing else will satisfy him. To behold a beautiful painting gives him pleasure, while to see a glaring chromo produces an unpleasant sensation. This is not because he is different by nature from one to whom masterpieces have no meaning, but because he has learned to know them.

Here again we have one of the striking differences between the average American and the average European. The Italian, French, Austrian, or German laborer sees masterpieces from infancy. His earliest recollection of religious worship is associated with them. Every continental town has its art gallery or picture exhibit, and on certain days there is no admission fee. The laborer avails himself of this opportunity. On Sunday, when he is free from toil, he makes a festival of the occasion and takes his family to some park or place of amusement, and very frequently the jaunt includes a trip to the picture gallery. Consequently, even the children of those lands have a knowledge of the masterpieces of art far surpassing that of the average adult American.

In most respects the Italian street gamin does not differ from the guttersnipe of our own land, but in one he is vastly his superior. He knows the free days at the galleries as well as he knows the alleys of his native town, and is a liberal patron of such places on those occasions. I once made the acquaintance of a little chap in Rome who was an excellent guide. He piloted me among the treasures of the Vatican with the ease and security that bespeaks thorough knowledge, for he had been there so often that he knew in just which rooms or alcoves to find his favorites. He knew much of the artists, too, of their lives and times, their discouragements and successes. Yet this Roman street boy was no exception to his class. Along the Piazza di Spagna, in fact, on any of the highways, are dozens like him, rich in knowledge of the statues and fountains that glorify the streets and parks of the Holy City. The names of Brunelleschi, Michelangelo, Fra Angelico, Giotto, and those other men who built or carved or painted with marvelous power, are fraught with meaning to them, and it is not strange that it should be so. Children in Italy have grown up among beautiful things. For centuries beauty has been almost a religion to this joy-loving, sun-loving race, and the country of the Apennines, as Francis Hopkinson Smith says, is the one place in the world where a song or a sunset is worth more than a soldo. Consequently, the Italians are a nation of art lovers. Each individual regards the masterpieces as his property, and the reason the Italian people hate the memory of Napoleon is not only that he conquered parts of their land, but that he robbed Italy of some of her art treasures. These were things they and their fathers had seen and loved, and they could not forgive the vandal who carried them away, even after the wound left by the victor had ceased to rankle.

Here in America we have not had the opportunity of the average European, but already we have made a beginning, and we now possess a number of art galleries that deserve the name. At the present time these are found only in the large cities, but they are helping to form national standards. Meanwhile every worker with children ought to try to lead those intrusted to his care to a knowledge and appreciation of great pictures.

It is not enough to place reproductions of masterpieces in schools and homes and say nothing about them. If children are to have an appreciation of them, they must be led to see their beauty, to understand what they mean, to have some idea of the infinite patience and labor that made their creation possible. The child of an artistic bent will observe and study them without aid or guidance and unconsciously grow into loving them, because beauty in any form attracts him as a magnet draws a bar of steel. But teachers and parents do not work solely with budding genius, and in the great scheme of human advancement it may mean as much for many _average_ children to appreciate and love art, as for one who is gifted to reach immortal heights of achievement. The average child must be led and directed. His interest must be aroused before we can hope to mold his taste as we would have it molded. He must be taught to see that a Gainsborough is more beautiful than an advertising chromo, that a face by Raphael is the expression of an inspiration that is almost divine. Only through an association that gives pleasure will he come to see and appreciate, and here again story-telling can work wonders, because through it we can intensify a child’s delight in a picture.

In the field of art the biographical tale is of immeasurable value, for the story of an artist’s life, illustrated by reproductions of his works, can be made the pathway to appreciation.

In establishing standards of art appreciation, as well as those of music, we must not lose sight of the story interests of childhood, because many a picture that is a great artistic achievement is not suitable to present to little children. The “Venus and Cupid” of Velasquez is a glorious masterpiece, but we cannot expect little folk to admire it any more than we can expect those in the rhythmic period to listen to a King Arthur story and ask to hear it again. As the little child does not know Venus and Cupid, a portrayal of them means nothing to him. But he does know horses and dogs and cats. He knows other children and babies and mothers, and therefore he enjoys pictures of animal and child life and will be interested in hearing about their portrayers.

Sir Joshua Reynolds is an excellent artist to begin with, because his best work is built around themes dear to the heart of childhood. His “Age of Innocence,” “Infant Samuel,” “Robinetta,” “Heads of Angels,” “Simplicity,” and “The Strawberry Girl” are ideal works to present to the small child, and this painter’s early years make a charming story.

Sir Edwin Landseer is another artist with whom we can acquaint little children, through the following works: “Uncle Tom and His Wife for Sale,” “Low Life and High Life,” “Dignity and Impudence,” “A Distinguished Member of the Humane Society,” “The Sick Monkey,” “King Charles Spaniels,” and many other paintings, all of which will be loved by children because they love the subjects.

Rosa Bonheur and her paintings should be used in this period. Children are especially fond of “The Horse Fair,” “Coming from the Fair,” “Brittany Sheep,” “Highland Cattle,” and “A Norman Sire.” In fact, everything this painter created, like all the work of Landseer, is fraught with interest to the child, because she was solely a portrayer of animal life.

An artist of whom little folk have been taught almost nothing is Gainsborough. Usually we think of him only as a portrait painter, because in America his likenesses of women are better known than his other pictures. But it is a mistake to associate him only with “the dashing, smashing hats worn by the Duchess of Devonshire.” Until recently only Americans who had traveled in England had an opportunity of seeing or knowing the greater part of this artist’s other work, because the British copyright law protected much of it in such a way that cheap prints could not be made. Now, however, it is possible to get good reproductions of these long-protected Gainsboroughs at a very reasonable price. Most valuable of the works of this artist to use with little children are the following: “The Market Cart,” “The Watering Place,” “Two Dogs,” “Rustic Children,” and “Study of an Old Horse.”

Murillo is an ideal painter to introduce to the little child, because his childhood story is as fascinating as his creations are glorious. Children never tire of hearing about this joyous little Spanish boy, and of the time when he transformed the family picture, turning the halo of the Christ-child into a gorgeous sombrero, and making a dog of the sheep. As they laugh or sympathize with the wonder child of Seville and feel something of the charm of life in that old city, its street children, immortalized on canvas by its most illustrious son, become comrades because little Bartolome sometimes played with them and big Bartolome painted them. There is a long list of this master’s works from which to choose, but the following are particularly enjoyed: “Mother and Child,” “The Adoration of the Shepherds,” “St. John and the Lamb,” “The Melon Eaters,” “The Dice Players,” “Beggar Boys,” “The Good Shepherd,” “The Marriage of St. Catherine,” and “The Immaculate Conception.” No attempt should be made to interpret the two last-named pictures. Familiarize little people with them and lead them to see their beauty, but waive all idea of religious symbolism until years bring maturity of thought and the child makes his own interpretation.

All Madonna pictures are interesting to little children, so by all means acquaint them with Raphael, the king. Let them drink in the beauty of “The Sistine Madonna,” “The Madonna of the Chair,” “The Madonna of the Goldfinch,” and as many others as can be obtained. The story of Raphael belongs more properly in the intermediate period than in the very early one, because so little is known of this painter’s life before he began his career. Just tell the children of the little boy who lived in far-away Urbino long, long ago. His mother died when he was a wee little fellow, and he lived alone with his father, who was very kind to him. Instead of playing much, as the other children did, he loved to sit and listen to stories about saints and good people who lived before his time. He loved to draw pictures, too, and when he grew to be a man he became a wonderful painter.

Closely following Raphael may come Correggio, through his “Holy Night,” “Repose in Egypt,” and “Cherubs.”

Van Dyck, too, may be made familiar to little children. From his works choose “Children of Charles I” and several details from this picture—“Baby Stuart,” “Charles II,” and “Henrietta.” But present first the complete picture, so that when “Baby Stuart” is seen the children will know that it is only part of a painting. Many a grown person does not realize that it is a detail from another work, and this fact should be understood by every child who sees the royal baby. Other works by this artist suitable to introduce to tiny people are “The Repose in Egypt,” “Madonna and Child,” and “The Donators.”

There are many painters whose pictures will be enjoyed by children of from five to eight, and the teacher or parent who knows art and art literature can choose for himself, keeping always in mind the story interests. To those who have little or no knowledge of art, yet who want to lead children along this path, the following list will be helpful:

ARTISTS AND PAINTINGS THAT CAN BE PRESENTED TO YOUNG CHILDREN THROUGH THE STORY-TELLING METHOD

ADAM: Kittens; Wide Awake; The Hungry Quartette; In the Boudoir.

BOTTICELLI: Adoration of the Magi; The Holy Family.

BOUGUEREAU: Virgin and Angels; Virgin, Infant Jesus, and St. John; Going Home from School; The Flight into Egypt.

DELAROCHE: The Finding of Moses; Children of Edward IV.

GREUZE: The Broken Pitcher; Innocence; Head of Girl with Apple.

HERRING: Pharaoh’s Horses; Three Members of the Temperance Society; The Village Blacksmith; Farmyard.

VIGÉE LEBRUN: Marie Antoinette and Children; Girl with Muff; Mother and Daughter.

MILLET: Feeding the Hens; Feeding Her Birds; The First Step; Feeding the Nestlings.

LUCA DELLA ROBBIA: Singing Boys; Trumpeters and Dancing Boys; Dancing Boys with Cymbals; Children Dancing to Fife and Tambor; Madonna, Child, and Saints.

RUBENS: Portrait of his Wife and Children; The Holy Family; Infant Christ, St. John, and Angels; The Virgin under an Apple Tree; The Adoration of the Magi.

Children of the intermediate period enjoy the works of the great landscape painters, Claude Lorrain, Corot, Breton, and others who portrayed the woods and fields, especially when they know something of the childhood of these men. In this period, too, they should become better acquainted with some of the artists they have already met. Add to the interest previously created in Raphael by taking up such works as “Madonna of the Fish,” “Madonna of the Well,” and “Madonna of the Diadem.” In telling the story of his life use Ouida’s beautiful tale, “The Child of Urbino,” which is so exquisitely told that there is nothing lovelier in literature. Show the children his portrait of himself, his “St. Catherine,” “St. Cecilia,” “St. John in the Desert,” “Peter and John at the Beautiful Gate,” and “The Miraculous Draught of Fishes.”

Add to the interest already created in Rubens by taking up his “Portrait of Himself,” “The Flight of Lot,” and the paintings illustrating the life of Maria de’ Medici.

Pictures representing the Crucifixion, the Descent from the Cross, and the Entombment, no matter how glorious they may be as works of art, should not be presented to children. They are too highly religious for children’s understanding, and the tragedy portrayed in them should not enter into childhood. The Madonnas and Holy Families may be used freely, because they portray dear and familiar characters and are saturated with an atmosphere of happiness that gladdens the child.

The following list will aid those who are not connoisseurs:

ARTISTS AND PAINTINGS FOR CHILDREN OF THE INTERMEDIATE PERIOD

JULES BRETON: Song of the Lark; The Gleaners; The Reapers; The Weeders; The Recall of the Gleaners; Blessing the Wheat; The Vintagers; The End of Labor.

JACQUES: The Sheepfold; Pasturage in the Forest; Shepherd and Sheep.

MILLET: The Sower; The Gleaners; The Angelus; The Grafter; Sheep Shearing; Potato Planting; Bundling Wheat; Returning to the Farm; Shepherdess Knitting; Woman Churning; Labor.

There is a twofold reason for introducing children to such painters as Millet, Breton, and Jacques. Besides giving them a knowledge of the works of the artists in question and adding to their appreciation of the beautiful, it will dignify labor in their eyes to learn that it inspired these great creators. If leaders of the “back to the land” movement would make free use of the art of the world among children, if during the years when impressions made are deep and lasting they would tell stories and show pictures that have been inspired by toilers in the fields, a sentiment would be created that would tell in results, because of boys and girls having learned to respect those who till the soil and work with their hands.

ARTISTS AND PAINTINGS THAT LEAD TO APPRECIATION OF THE BEAUTIFUL AND TO RESPECT FOR LABOR

COROT: Dance of the Children; Dance of Nymphs; Landscape with Willows; Paysage; Pond of Ville d’Avray; The Lake.

REMBRANDT: Portrait of Himself; Portrait of His Mother; The Mill; The Burgomasters.

TROYON: Return to the Farm; Going to Work; Landscape with Sheep.

VAN DYCK (Add to interest already aroused): Henrietta Maria, Wife of Charles I; William of Orange and Mary Stuart; Equestrian Portrait of Charles I; Portrait of Charles I with Groom and Horse.

VELAZQUEZ: Portrait of Himself; The Tapestry Weavers; Prince Balthazar; The Lancers; Equestrian Portrait of Philip IV; Infanta Maria Theresa.

When children reach the period during which they crave the heroic, when they are eager for the great epic stories, give them the great paintings that portray epic and mythological subjects. The following list contains names of artists and works that children in this stage will enjoy:

ARTISTS AND PAINTINGS FOR THE HEROIC AND EPIC PERIODS

ALMA-TADEMA: Sappho; Reading from Homer.

BURNE-JONES: The Golden Stair; The First Day of Creation; Second Day of Creation; Third Day of Creation; Fourth Day of Creation; Fifth Day of Creation; Sixth Day of Creation; Hope; Circe; Enchantment of Merlin; King Cophetua and the Beggar Maid; The Furies.

LEIGHTON: Helen of Troy; Captive Andromache; Greek Girls Playing Ball.

MICHELANGELO: David; Moses; Saul; The Three Fates; Jeremiah; Ezekiel; Zachariah; Isaiah; Daniel; Jonas; The Delphic Sibyl; The Cumæan Sibyl; The Libyan Sibyl.

RAPHAEL: St. George and the Dragon.

GUIDO RENI: Jesus and John; St. Michael and the Dragon; Aurora; Beatrice Cenci; St. Sebastian; The Annunciation; L’Adorata.

ROSSETTI: The Sea Spell; The Blessed Damozel; Ancilla Domini.

ANDREA DEL SARTO: John the Baptist; Virgin in Glory; St. Agnes; Charity.

TINTORETTO: The Forge of Vulcan; Marriage at Cana; Paradise; Paolo Veronese; Feast at House of Simon; Feast at House of Levi; Europa and Jupiter.

TITIAN: John the Baptist; Tribute Money; Titian’s Daughter Lavinia; Flora; Head of Venus.

TURNER (_Mythological_): Apollo and the Python; Jason in Search of the Golden Fleece; The Goddess of Discord; Dido Building Carthage; Ulysses Deriding Polyphemus. (_Historical_): Prince of Orange; The Death of Nelson; Boat’s Crew Recovering an Anchor; Hannibal and Army Crossing the Alps; The Field of Waterloo; Agrippina Landing with the Ashes of Germanicus; The Fighting Téméraire.

WATTS: Sir Galahad; Orpheus and Eurydice; Endymion.

GENERAL BIBLIOGRAPHY OF ART STORY MATERIAL

BACON, MARY S. H.: _Pictures That Every Child Should Know_.

CATHER, KATHERINE DUNLAP: _Boyhood Stories of Famous Men_.

COLLMANN, SOPHIE MARIE: _Art Talks with Young Folks_.

DE LA RAMÉE, LOUISE: _Child of Urbino_ (_“Bimbi” Stories_).

ENNIS, LUNA MAY: _Music in Art_.

HARTMANN, SADAKICHI: _Japanese Art_.

HORNE, OLIVE B., and SCOBEY, KATHRINE L.: _Stories of Great Artists_.

HOURTICQ, LOUIS: _Art in France_.

HURLL, ESTELLE M.: _The Madonna in Art_.

MENEFEE, MAUD: _Child Stories from the Masters_.

SWEETSER, M. F.: _Artist Biographies: Raphael and Leonardo, Angelo and Titian, Claude Lorrain and Reynolds, Turner and Landseer, Dürer and Rembrandt, Van Dyck and Angelico, Murillo and Allston_.

VASARI, GIORGIO: _Lives of the Italian Painters, Sculptors, and Architects_.

WATERS, CLARA ERSKINE: _Saints in Art_; _Stories of Art and Artists_.

SOURCES FOR MODERATE-PRICED REPRODUCTIONS OF MASTERPIECES

The Brown Pictures, Milton Bradley Company, Springfield, Mass.; Emery School Art Company, Boston, Mass.; Maison Braun et Cie., New York, N.Y.; Frederick A. Stokes Company, New York, N.Y. (has American rights to many pictures); The Perry Pictures, Malden, Mass.; The Prang Company, New York, N.Y.; The University Prints, Boston, Mass.