Living in obscurity, without the capital or
sagacity to make himself known to the public, he is at the mercy of
those who are interested in keeping him in privacy and buying his
artistic labors at the wages of a clodhopper. His own responsibility
goes not beyond fulfilling orders for the imitation of certain objects,
the process of which he frankly explains to the inquisitive visitor.
But, once in dishonest hands, antiquity and authenticity replace
modernism and imitation.
There are two ways of seduction and deceit. The one and safer for
the operator is the _suggestive,_ in which appearances are made by
consummate tact and artful flattery to excite the imagination of the
buyer so that he is led to believe what he desires without compromising
the agent. The other is positive intrigue and absolute lying, so nicely
done that the wealthy amateur is fleeced often in a fashion that confers
a pleasure, and which, though he may subsequently detect it, gives him
but a lame chance at redress. In most instances he deserves none. For,
stimulated by vanity or fashion, without any true regard for art, he
has offered so large a premium for a name, that it would indeed be
wonderful, if a corresponding supply were not created. The living artist
is sometimes sorely tempted to pander to illusions to secure that
appreciation which the world gives more lavishly to fashion than to
merit.
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