New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-12-08

more nearly the cartOOnlSt than the eX-
hibitor.
Most Of this is clear and familiar mat
ter and is repeated only as kind of
preface to the present, which demands
new effort at understanding because
illustration has no voice of it's own, as
the satirists so completely possess, to
clamor for attention. Howard Pyle and
Maxfield Parrish pointed the way to
1T, but now imposeds upon the imagi-
native delcacy of Pyle is another group
of men, who have turned illustration
into thing that completes fairly with
the academy exhibitions for recognition.
Drawing is delightful thing we may
always hope to have in abundance, the
use of swift and penetrating line to
evoke the image of beauty, but in the
new art of illustration we are con-
fronted by an art that is not satisfied
with mere perspective on paper, is not
content to be linear and two-dimen-
sional. 1t reaches out for all the values
of painting, the depth, the solidity, the
cubical and volunnar quality Of oil, the
subtle inner rhythms of composition and
design, works restlessly under all the
discrepancies between execution and
transcription, and goes the easel painter
one better by creating new art of COM
position outside of the too often unity
ing picture frame.
Last year the government sent group
81 E,o@-
France. What has become of their work
is not publicly known; it should have
been exposed to view for its propaganda
value long before this. In the party
were some of the men who have, without
any parade beyond the splendid piano.
rama of their own talents produced the
new art of illustration. Among them
was Harvey Dunn, an illustrator whose
vitality of imagination is so great and
whose power Of expression so original
dealers and their blindness to anything
but the accepted goods can keep him
shunted away from authentic fame. He
is only one of a score, some Of them
close on the trail he has been blazing,
others on track of their own, men like
Raleigh, Gruger, Fogarty, Cornwall,
Koerner, Reynard, Fuller, Lambdin, Fuhr,
Fay, Bull and Wyeth. All of them are
bent on making a thing which is greatly
alive, curious of life and expressive, in
telligent and original in technique. All
of them are restless and unsatished and
keen on pushing further into represent
alton and Interpretation, which is illus
tration. There is no other art in Amer
lea and no other set of artists that can
truly have that said about them
The National Academy and it's hun
dred grandfathers is a collection of
ghostly voices, singing old songs. The
various radicals have compacency of
their own, which is the quality of most
dogmatists. But the illustrators are
scarcely aware of themselves as clan,
any thought Of a movement" is furth-
est from their minds and with the sin
cerity of self-forgetfulness they are Civ
ing their countrymen quality Of imagi-
nation that all the big and little acade-
mics everywhere rarely glimpse. To see
what is good in our American art, go to
the subway magazine stands. Only eld-
erly people visit art exhibitions any
more.
1t is recognition and judgment that
must 80 to these men if they are to be
kept on the right track and speeded to
greater ends. Advertising is already
waving golden hands at them. And
where fame remains impressive, money
is always seductively sweet and dan
gerous