New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-10-24

Vixen the babies have grown up there may be
: new group OF artists But what must be their
heritage? Irbued with the precepts OF war
tney will be vitality handicapped from the be-
ginning. Art nurtures art. War destroys It,
This frightfu condition is shared by all
ruroDe. The individual is being crushed, or
welded into vast instrument to be swayed by
the despots who control all destiny there to-
day. And art. being essentially an expression
Of the individual. must be lost in the terrible
gulf which is claiming manhood and all the
better ideals OF civilization. A condition OF
ALSO ute barbarism is being rapidly achieved.
81 could not work in Paris. After serving
al the front until relieved by sickness. tried
10 take up the old threads in Paris. | could
not concentrate on the canvas. l oou,d not
think Mangled bodies would be carried
through the streets. Everywhere one heard
nothing but the horror Of war, saw nothing
bur wars agonizng blight laid my brushes
aside It was impossible.
we came to America, and what change
Here everything is calm and ordered. The in
div;dual counts Here art is possible. You
see. l have already resumed my painting
The artist displayed cubst impression OF
Broadway.
New York inspires ne tremendously. find
lie batting in many respects. Walking
through the streets of this great city, have,
not infrequenty feeling of being hemmed in
end even crushed. This is perhaps partly due
to the height of the buildings but also to the
movement Of humanity, streaming so steadily,
so fixed OF purpose, knowing so exactly where
TIE goal lies. IN Paris there is maze Of little
streets Life goes with starts and stops.
1t is much more devious and complex. But
New York is a very thrilling place. 1t stimu-
ates me- and the glamour increases as | be
Gene more and more accustomed to the trend
Of things.
The skyscrapers are works of art. They
ere creations in iron and stone which equal the
most admired old world creations. And the
great bridges here-they are as admir-
able as the most celebrated cathcdrals. The
genius who built the Brooklyn Bridge is to be
classed alongside the genius who built Notre
Dame de Paris. The same spirit underlies all
supreme achievements. 1t is very mistaken
impression that one must go to Europe to see
beautiful things"
True art never is matter Of schools Mr..
Geizes said in the course OF our conversation.
1T is universal, of all time and for all time.
If it must be divided at all, il should be por
toned into epochs. II is a thing of persons and
not OF cult. Nor is there, in any but the most
superficial sense French school, German
school. an Italian school. The same emotions
are felt all over the earth. People are merely
ri l.
tremely various. This is illustrated, | think,
by comparison already NADIA comparison
involving American skyscrapers and bridges
and European palaces and churches. The
same impulse TO portray animates artists In
every land.
u am here in America to study American
life. l mean to travel good deal. And
hope to do lot OF work. Work is pleasure
in America There is inspiration and there is
peace. In Paris there was nothing but hideous
distraction. I'm glad have turned my back
On that terrible nightmare"
Nine. Gleizes was quieter and less out
spoken than her husband regarding the state
OF affairs in Europe ard their influence upon
art. But she spoke feelingly OF the attractive
ness of life on this side of the ocean and
echoed his assurance that one could devote
oneself to art in this country, where it was
impossible to do so abroad.
Madame Gleizes is poet well as painter
Il have written nothing at all since the war
came upon u.s." she said wistfully. Life in
Europe is little conducive to poetry. But now
I am here, in this wonderful. free country,
think that inspiration will shine again for me-
! hope to write poem a little later on ex-