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

In America. Francis Picabia, another Promi-
nent "modernist" painter, asserts, the art Of
the future will be found attaining new and
gorgeous horescence. The spirit OF America
seems subtiy, yet powerfully akin to the spirit
Of artistic creation. There is fe rlessness ana
a newness about it which sends hope racing
through ones arteries The boundlessne5s OF
our national aspirations sets dashing pace
for the equal boundlessness Of artistic enter
prise. In short art and life here seem 70 dis
cover wonderful consanguinity.
But M. De Zayas, stsnch friend OF the
"modernists' in this country, and who has Just
established the "moderI.' gallery devoted to
furtherng the interests OF contemporary art
does not hesitate to state that the real poten-
tionalty OF the American nation is still await
inc. the magic Of an artists touch to spring
forth in pristine, free expression. America has
yet TO find herself
America has the same complex mentality
as the modern artist; the same eternal Sc
ouence OF emotions and sensibility to surround
ings; the same continual need OF expressing
itself in the present and for the present he
says.
OF course the artists now arriving from
Europe and establishing studios here are not
entering a field entirely devoid of artistic
achievement Much has been done. American
artists have been laying very commendable
groundwork What it is firmly believed this
invasion Of Europe will accomplish is the niu-
sion of great buoyancy and zest to the entire
art movement in this country. The tendency
will be to broaden, deepen and enrich all pro-
R,,+ ~ &c bvr
element which is being and is destined to be
influenced. The newcomers, one and all,
frankly acknowledge regeneration Of spirit,
in some cases even vital renaissance Of ideal.
Francis Picaba. for example, admits to having
put all former things behind him and to having
grasped the genius Of American machinery as
the new medium through which his art may
be expressed.
Motion is the very heart of progress. When
a thing becomes static its days numbered.
This shifting of field from Europe to America
implies a ceaseless aertness which proves art
vrile and assertive. It's never ending growth
is mirrored in the life of the individual artist
The highest intelligence seems that which
recognizes even in the full flush Of any given
period" that there must be a and a new
rising. Marcel Duchamp oouoborates this
eternal individual development Il am never
deceived, myself into thinking that have al
length hit upon the ultimate expression. In
the midst Of each epoch fully realize that
new epoch will dawn
As with the artist. so it is with art. Boun-
daries are not recognized. Art scars free and
unirnpeded toward ever higher and higher
goals. If the march OF events in the world
prohibits this desired untrammeled fight then
art will brood till a gate is opened. Now a
gate has been opened. 1t has been thrown
wide America lies beyond it, and here is
vived that hope which charges genius with
the precious FIRE OF achievement
And their individual reasons for coming,
merged into a composite amount to the fact
that all air, all life, is sthed by the war.
The people of Europe have become brutes"
cried Albert Glezes foremost OF French Gu
bists and probably one OF the two or three
cubists Of note in the world who 50 style
themselves Individuality is utterly lost in a
struggle whose butchery ard terror have raised
governments into the attitude Of despots Force
has taken the place Of reason and right All
the best blood of Europe is being spilled. In
the end there will De lett only old men.
women and babies.
so far as art is concerned the war is bound
20 have the most deadly influence upon it.
Not alone is it impossible for artists to work
abroad at this time, but when peace is finally
established state Of exhaustion will impel
the greatest artistic dearth Europe has per
haps ever known. A generation will be skipped.