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The new path
Vol. I, No. 1 (May 1863)

Association for the Advancement of Truth in Art,   pp. 11-12


Page 11

Association for the Advancement of Truth in Art.
ASSOCIATION FOR THE ADVANCEMENT OF TRUTH IN ART.
ON the evening of the twenty-
seventh of January, in the present year,
a number of persons met at 32 Waverly
Place, in the city of New York. Be-
lieving in the overwhelming power of
the Truth, especially in Art, they had
for some time seen the necessity of a
united effort to revive true Art in
America, and had assembled at this
time to take counsel together, and if
thought proper to organize an Associa-
tion for the better promotion of the
end just stated.
A meeting was organized and the
usual formality of electing a temiporary
chairman and secretary gone through
with. The objects and ends of such a
society were informally discussed and
the views of those present were freely
expressed.  The result was that a
Committee was appointed to prepare a
form of organization, containing a state-
ment of principles embracing the ideas
that had been expressed and generally
approved by the assembled company,
and to report at the next meeting.
Several meetings were subsequently
held, at which the whole subject was
discussed, and at length, on the eigh-
teenth of February, the Articles of
organization were reported complete,
unanimously adopted, and signed by all
the persons present. The Association
thus became permanently organized
and proceeded to elect officers.
The Articles covered the whole
ground-Firstly, defining the principles
upon which are based all right Art.
Secondly, stating what they propose
to do to carry out those principles, and,
Thirdly, the form of organization, and
discipline.
We cannot do justice to the first of
the Articles without giving it entire.
It says:
" We hold that the primary object
of Art is to observe and record truth,
whether of the visible universe or of
emotion. All great Art results from
an earnest love of the beauty and per-
fectness of God's creation, and is the
attempt to tell the truth about it.
The greatest Art includes the widest
range, recording, with equal fidelity,
the aspirations of the human soul, and
the humblest facts of physical Nature.
"That the imagination can do its
work, and free invention is possible
only when the knowledge of external
Nature is extended   and  accurate.
This knowledge, moreover, with sym-
pathy and reverence, will make happy
and useful artists of those to whomn
imagination and inventive power are
denied.
"That beauty, in the vain pursuit
of which generations of Artists have
wasted their lives, can only be appre-
ciated and seized by those who are
trained to observe and record all
truths, with equal exactness.  True
Art, representing Nature as she is,
discovers all her beauty, and records it
all. The art which seeks beauty alone,
disobeying Nature's law of contrast and
narrowing the Artist's mind, loses
beauty and truth together.
" Therefore, that the right course
for young Artists is faithful and loving
representations of Nature, "selecting
nothing and rejecting nothing," seek-
ing only to express the greatest
possible amount of fact. It is more-
over, their duty to strive for the
greatest attainable power of drawing,
in view of the vast amount of good
talent, of wit, knowledge and pleasant
fancy, which is lost and wasted around
us every day from mere want of ability
to give it dne expression.
" We hold that in all times of great
Art, there has been a close connection
between Architecture, Sculpture, and
Painting; that Sculpture and Paint-
ing, having been first called into being
for the decoration of buildings, have
found their highest perfection when
habitually associated with Architec-
ture; that Architecture derives its
greatest glory from such association ;
therefore, that this union of the Arts
is necessary for the full development
of each.
"4We hold that lt is necessary, in
times when true Art is little practised
or understood, to look back to other
periods for instruction and inspiration.
That, in seeking for a system of Archi-
tecture suitable for such study, we
shall find it only in that of the middle
Ages, of which   the most perfect
development is known as Gothic Archi-
tecture. This Architecture demands
absolutely true and constructive build-
ing; alone, of all the styles that have
prevailed on earth, it calls for complete


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