The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-03-22


At the show OF International art
l. ought t. this year. Now that 1t
finds itself IN the sympathetic
guardianship of Mr.. Stlegltz in the 1T
tie gallery Of the photo at 29t
Fifth avenue, which seems to have no
-ecic architectural differences from
oths- galleries and yet has the faculty
o: showing off modern wares that seem
dubious in other places to extreme ad-
Nentage. Ike the tailor's mirror In which
'.ri never can locate the imperfcctions
that you fancicd In the glass at home
the Brancusl art seems to expand. UNI
rold and To take on startling iucidity.
But few short months ago there
wcrc icers for the mile Pogany" and
the "Is 1t an egg?" wltticism threw the
phiiiatincs into such paroxysms OF UNI
controlled glee that q consideration of
the sleeping Muse" mad tn be post
poned 1t liz impossible to reason with
people in the grip OF a passion. whether
for laughing or weeping. IL * perhaps
impossible ever to reason the adverse
into on appreciation NJ work OF art.
Art Is felt. not understood. All the talk
and loud shouts In the world won't cause
you to like q picture that yea ore con-
WINGED you loathe But the lauahers
arc finally stilled through sheer wcari-
ness OF their own laughter. The thought
imprisoned in the bronze nj last speaks.
and soon. II the idea be u pretty one.
there Is an audience 80 large for II that
tho fatuous Laughter becomes an object
for mild pity. People laughed Mt Bee
thoven. 1t Ia difficult for us now to see
upon what they pinned their joke.
Brancusi, Beethoven They are not
precisely mates Beethoven never
laughed or at least II he did you were
more frightened than at his thunder.
Brencusl laughs Beethoven is godllke.
primeval. ungcntlemanly Brancusl Is
suavc. witty, elegant and rocco. There
10 no reason whatever for linking them
save that their loves spell their loves
with II y and both were Knocked. II one
must ind u musical affinity for Bran
cusi Tnmeau IL nearer. But must one?
He ~ more literary than musical.
Ono naturally seeks for comparisons
for most OF our modern artists among
the musicians. for the continual search
for the abstractions Of beauty that goes
IN among our new men Is only TO be
matched by the absolute" in music that
fascinated even tho apostles OF the lett
motif among our composers. one would
wish that modern art would not borrow
so much from music. one would wish
that painting and sculpture might de-
veop more strictly within their medi-
uniis;ic limitations, or progress by add
ing more ana more restrictions to
method
Blu; what have ones private opinions
20 do with an age whose rallying word
.s "hberty"? An age In which all bar
riers are down. an age in which the
tell, h.
wishes TO be ike it's neighbor. and an
expert is required to tell the difference
between an aristocrat and a democrat
With everything upon the lever what's
the use OF kicking because painting has
become another form OF music? or be-
cause sculptors take on the license o.
poets"
Those who deny progress and liberty"
will deny Brancusi. Those who are in
terested In lie as Il is and are more
Interested in the actual, unsolyei. con-
fronting problems OF the day than in
the completely solved. tabulatcd, IN
deXed problems OF the long dead past
Will accept him.
Those who can bear to look at Bran
Gusts sculptures, however, Will And Il
difficult ~ understand the shudders Of
the philistlnes. They are not after all
80 very abstract. There IL a tangible
subject 10 each work. Mile. Pogany"
;s, II you will. n delicious piece OF satire
as soulful and estate ~ dear Lady
Angela in "Patience" She leans her
amusing head upon her hands and bends
forward properly "yearnln.;" at the, to
us. inuudb'e l}unthorn!sA strain. The
eyes IN such creatures dilato until they
are all Of tho lady THAI the watchers AZ
the comedy So", Brsncusi has diiated
them until We see nothing but eyes.
But wha, of that: Pray let us lie con-
s!stent for once. Il is an abstraction
but since. We understand Il what's the
harm: our ultra-moderns complain