“Artists and critics compete with Each other in their endeavors to destroy the traditional approach to the fundamental principles required for the careful technical execution of any work. In their mad pursuit of novelty, they do not have enough time for a conscientious development of their ideas and, as a result, they have had to make legitimate that which I would call “illiteracy” in the arts. Such an attitude in the art of our day is harmful not so much in itself, but in that it is used by intellectuals, by means of the written word, to influence the unprepared mind of the student. Youth is infected with a careless and irresponsible attitude toward the execution of work, with a sense of easy attainment, seeking to attract attention by shallow-minded novelties instead of real innovations and discrimination.”
“Concept or rendition: which is more important? That is a basic question in art. In the first case it is frequently said: “Not badly conceived but poorly executed!” Such evaluation is no credit to an artist. On the contrary, fine workmanship makes one forgive even triviality. In such cases it is said: “Stupid, but devilishly well executed!” This is a common rule. A high degree of expertise in technique has always had, and always will have, a predominate place in art. The subject, in itself, has value only according to the mode of the day. Tomorrow it will be superseded by a new fashion or fad. With the passing of time, the subject loses much of its meaning. But the fine execution of that subject retains its value.”
Born in Russia, Nicolai Fechin was Ilya Repins greatest student. Fechin immigrated to the United States in 1923 with the help of W.S. Stimmel, one of his American collectors. The quotes are from the two monographs listed: Nicolai Fechin, Harold McCracken; Hammer Galleries, 1961. Nicolai Fechin, Mary Balcomb: Northland Press, 1975.
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