The farmer and mechanic. [volume] (Raleigh, N.C.) 18??-19??, 1911-11-21

talent Yon acquire the master-seroto ..x
by swimming up stream. 3s
Il AIN an Old fash .onad ant;
now my sufra gette sisters cla-sfv
Is having a ca Ids mind in q rorTa1-.
nouy, put | am quite willing t. confess
10 my lmbecfi ty-and also tn nv hr-r4
ness in my home. husband cbiI~
my painting. Aiie "a
But to go back to the things an ar
Ihacasoon may lead to- Do You kaoW
our really awakened art inter - =
standard OF art critic SIN. TO nut such
wiring on a respectable basis. Now il
IS a Joke. who does the art or t'cism
for our newspapers: The baseball editor
when his enthus. assn is exhausted after
writing up the days game? KnowIedge Of
art: lie would scorn the ~ins.nuat on. MIS-
Information alone is the basis he works
upon. And the space TO it-outside Of a
rev metroDol tan da lies-fs about equal to
tne obituary notice of some obscure citi-
en- 20 YOU think that's fair to the
pEDic! We have brilliant art critics whose
pFrotechnlcs dazzle q few high-brows. but
~ nave NOT a sfne'e art critic Ike the
Far $ Figaro possessed. who knows art
soundly and who W II elucidate It in SIN
pie. homely language. so the business man
and village housewife can understand.
Tell them why the best is ~good-they
yearn to know"
You don't believe n European study.
DO you believe, too, that you can fad in
81 1ratIon III New York or other American
ct esq
L thtnh VI u dItlSlS must i've Nli0
their kind. wouldn't exactly recon-
mend i small frontier post, but | don't be-
lieve in ISOLATION being an essential to
creation. or in going to Italy Il certainty
for INSPIRATION. Frequent trips abroad
are necessary for the galleries. II you are
to carry the torch of art on, you must
know something of those who held it n
the past and who have made it possible
that it can flare SO brill antly in your
hand. But I believe firmly in comparison
not in competition. And how can you
get that if YOU are bur ed al We as the
artist-hero of Arnold Benefits novel?
Then your own work looms dfspropor-
tfonately large in your LIES horizon. You
see only that; you get satisfied W tn it,
when you care no longer to place it side
by side others, and with satisfaction comes
decay. That Is your expiring breadth as
an artist.
The latest cult IN New York is to dis
cover beauty in the city itself. Flatterir.
foreigners have raved so pers;stently
about our poet sky-scrapers and cur
canyon Wall Street that we are begin
ming to see it with their eyes. / ean't
say that this is so, but I think that-you
can get inspiration from movement, from
be ng in the midst of things and people,
better than from broodtng alone. Certa My
you get a less morbid and more natural
outlook.
1t is time to turn our appreciative eye
fnwards. The Italian has the build ngs,
pictures. and statues Of the Renaissance
about him still: yet modern Italian taste
as shown by The Palace Of Justice and
the Victor Emmanuel Monument in Rome
IS execrahle. racoco, overdone, bizarre
Where i'll the world are they putting up
bu Idings so reserved and classic as the
New York Public Library and the Penn
sylvania Station? They are tang BILE evi-
dence Of our sound architectural taste
Then Mrs. Cox showed me her latest
portrait Of two charming children. and
with much more pride a review OF bel
husbands last book on art. and with real
elation a water-co1or sketch made by he1
boy son.
II it IS true. as she says. that q wo-
man gains greater indenendence by ac-
eerting the old bonds; then all this maei-
strom Of womanism at the present hour
IS not going to put rs II E'vstum. How
yexfng-which IS right? And how diff
cult to be firm in your woman's creed
For doubt creeps in when you talk t.
Cox, and more so when you see her work
IF has the authority. the assurance, the
| sincerity Of the very best.
LUCILE ERSKINE-
downright, 1911. by G. J. Mar, for Pub
fishers PreSS.)