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

artist the same eternal sequence OF emotions
and sensibility to surroundings; the same con-
tinual need of expressing itself in the present
and for the present, with JOY in action and
with indifference to arriving. For it is in
action that America like the modern artist
finds Joy
M. Picabia firmly believes that Amer
lea is destined to become the high court OF the
"modcrnists' Not only does he find the
American spirit, as his friend De Zayas has
expressed it, peculiarly one with the spirit OF
the modern artists themselves but he believes
the present invasion of European artists Is
bound to add great buoyancy and zest to the
whole art movement in this country
NJ Croft, another of the French con-
tingent, is not cubist. He does not arbitrarily
classify his work And this emancipation from
face identification is carried to the extent OF
merely numbering his productions, and never
comforting a name.
81 do not think the name should be necessary
to an understanding Of canvas. Art should
be self-expressing. 1t is not with nature am
concerned, but with ideas. paint my thoughts.
Whatever objects may enter into the COM
position are wholly arbitrary. They are sheer
pretext 1t is only the subtle arrangement of
color and form that counts. do not attempt
to portray anything but ideas
The Crottis have been in America several
months, though they are newcomers to this
city. Directly upon landing they travelled into
the Middle West, where they have been visit
ing friends.
81 found wonderful new calm out there"
explained M. Croft. Coming straight
out of the turmoil of wartime Europe this
presence of quiet is a most striking thing. AL
most Immediately the spirit of the altered life
began exerting benign influence. ! found
it possible to take up my brush, which had been
so long relinquished on account Of the multiple
distractions of war. I have done number
of paintings since arriving in America.
New York is very stimulating OF course,
so far as direct inspiration is concerned,
bring to my work the same attitude of mind
here as elsewhere l do not portray what l
see but what l feel. Ny work is quite the
reverse Of NJ. Gleizes's, for example. The
same distinctions encountered in the realm of
literature and of music may be attributed also
to painting. Either you are a realist or you
are an dealist. These words"-and Marcel
Duchamp also expressed himself very similarly
in this regard-"do not at all adequately cover
the two attitudes of mind. But they are the
words most familisrly used to distinguish the
two"
NEW YORK THE CRADLE OF ART?
Nine Croft, also an artist, does work
quite distinct from her husbands. While she
has done large paintings, her true forte is
kind of exquisite miniature.
1t would be hard to fancy the artist sitting
down to fashion her exquisite little brush
poems in the midst of broiling Europe.
Are you happy TO be in America asked
her.
ooh, yes she replied, very, very happy.
One can breathe over here. | hope to accom-
plish so much. We're going 20 spend the win
ter in this big, wonderful city. Do you think
the Americans will care for these little pct-
ures? l am so anxious to go on and on"
Her husband supplemented her enthusiasm.
I'VE both find America very stimulating
he said. And DO you know, it seems very pos
sibe to me that New York is destined to be
come the artistic centre of the world. Art
certainly isn't possible in Europe, and will not
be for long time. But art is very thrillngy
possible over here. 1t is an era of tremendous
readiustment. l think it quite possible that
New York will come to be looked upon as the
cradle of art, usurping the proud place en-
joyed so long by Paris and other important
Europe-n cities. This is the first time that
Europe has been iInpelled to seek anything
tistic in America. 1t has always been the
other way about. Americans have come over