too commonplace or too unusual and mysterious to afford inspiration to painter and sculptor; while the normal characteristics of human beings and the circumstances common to their lives are not omitted, the artist frequently endeavors to express in his work the most subtle experiences of the heart and soul, and to embody in his picture or statue an absolutely psychologic phenomenon.
The present easy communication with all nations has awakened interest in the life of countries almost unknown to us a half-century ago. So customary is it for artists to wander far and wide, seeking new motives for their works, that I felt no surprise when I recently received a letter from a young American woman who is living and painting in Biskra. How short a time has passed since this would have been thought impossible!
It is also true that subjects not new in art are treated in a nineteenth-century manner. This is noticeable in the picturing of historical subjects. The more intimate knowledge of the world enables the historical painter of the present to impart to his representations of the important events of the past a more human and emotional element than exists in the historical art of earlier centuries. In a word, nineteenth-century art is sympathetic, and has found inspiration in all countries and classes and has so treated its subjects as to be intelligible to all, from the favored children for whom Kate Greenaway, Walter Crane, and many others have spent their delightful talents, to men and women of all varieties of individual tastes and of all degrees of ability to comprehend and appreciate artistic representations.
