History of art . of the constructions and of the lacquervarnishes or the silks that cover them. He has stylizednature. An erroneous distinction has often been made be-tween the process of reason which consists in stylizinga form and the process of instinct which tends toidealize it. Idealization does not re-form an object; itreconstructs and completes it so as to deduce the mostgeneral, the purest, and most hopeful meaning that theobject has for man. Stylization adapts it to its decora-tive function by systematizing the characteristicswhich appear in practically a consistent manner whenthe for
History of art . of the constructions and of the lacquervarnishes or the silks that cover them. He has stylizednature. An erroneous distinction has often been made be-tween the process of reason which consists in stylizinga form and the process of instinct which tends toidealize it. Idealization does not re-form an object; itreconstructs and completes it so as to deduce the mostgeneral, the purest, and most hopeful meaning that theobject has for man. Stylization adapts it to its decora-tive function by systematizing the characteristicswhich appear in practically a consistent manner whenthe form is studied. The artist saw that all formsand gestures and all architectures in repose or inmovement retained certain dominant qualities whichdefined them in our memory and which, when accentu-ated by schematic processes, could be applied todecoration with the utmost exactitude. By its powerof stylizing the world, Japanese art stands as the mostintellectual, if not the most philosophic, of our School of Matahei (xvii Century). Painting. (Louvre.) 130 MEDIEVAL ART Stylization has never been an obstacle to the Japa-nese artist. On the contrary, it permits him to placehis science at the service of a fantasy that knows nolimits. It authorizes him to turn into geometrical
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Keywords: ., boo, bookcentury1900, bookdecade1920, booksubjectart, bookyear1921
