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

HOR the hrst time Europe seehs Ai'iei'N"
II in matters Of art. for the first time
Il European artists journey TO our shores
70 find that vital force necessary 10 living
and forward-pushing art. And, as voiced by
Frederick MacMoaries, the celebrated sculptor
the effect Of this migration to our shores IS
likely 10 be more farreaching than even the
most enthusiastic now imagine.
When young Marcel Duchamp, known TO us
as the painter Of the famous staircase nude,
came over the art world took his journey as
manifestation Of curiosity and stood apart IN
piquant expectancy, confidently waiting for him
10 express the time-worn disgust with America
and It's standards generally ladled out TO this
country by artists. He didn't He praised and
eloried in the vibrant electricity Of this wholly
new and young and strong force in the world.
And then came Albert Gleizes, one of the fore
most Of French cubists. and mis- wife, Jullette
Roche Gleizes, on their honeymoon, and fast
on their heels Francis Picabia and Frederick
MacMonnies. and Jean and Ivonne Croft, and
huttering in their wake letters from their ar
fist colleagues in the trenches announcing that
they too, were spending their spare time study
ing English. because they intended to come TO
the United States as soon as the war ceased.
And New York awoke 70 find that it is wit
Messing q French invasion-an invasion Of the
young and rebe,lious in the art Of Europe,
which will give Of itself to the art Of the United
States, and in turn take from us what we have
20 offer And that, in the words Of these
artists is life in contradistinction to the living
death Of Europe stagnation that was felt a
year or two before war actually began
And if we are to furnish the buoyancy Of
crude life 70 these newcomers, they in turn
will pay us with what is perhaps equally neces-
sary the courage 10 break from the tradition of
Europe And it is an American who has lived
and achieved in Europe who points this ont.
EVERY ARTIST AN ASSET
Conditions on the other side" explains Mr.
MacMonnies. are bound to work enormously
toward raising the status OF art in this coun-
try How permanent the effect will be depends
upon the scope the movement attains before
some degree Of stability is resumed in Europe
believe that this is the inception OF brilliant
era for America.
Il look upon this awakened interest in Amer
lea as a most fortunate and significant thing.
America should welcome with open arms all
the artists who will come over. The effect OF
this movement is likely to be more far-reach-
ing than even the most enthusiastic now imag-
inc Artists of every sort ought 10 be wei
coined Every artist no matter what his ideals
may be- or whether his work be compre
hensible or not TO the majority, is a valuable
asset II he be only in earnest, each artist
may influence the tide. Revolutionary ten
denotes are always healthy tendencies. They
open up fresh channels, and incidentally an
era which will eliminate the age hallowed ne
cessity Of going abroad 20 study, through THO
sudden and potent pilgrimage OF artistic Eu-
rope 10 our free shores.
Il think that the time IS surely approaching
when American students will not need 10 go
outside their native land 10 acquire even tech
nique. This new impetus ought 10 result in
the establishment OF wholly comprehensive
schools Il may be that system of scholar
ships will be established Indeed, look for
all sorts Of growth
But warning against the tendency that
would make this new art impetus nationalistic
is sounded by Albert Glezes who in happy
phrasing, voices sturdy thesis OF universally.
He points out that AIT is not a thing of
geography. but Of persons The individual is
OF highest importance But in Europe he as
Sures US, the individual is being utterly ami
hilated Governments are assuming a despotic
sway over the lives OF all men. and in this crude
lost.