The sun., 1919-01-12
RED RULE IS SEEN
IN PICASSO'S ART
His Cubistic Canvases Provid-
ed Models for Chaos Of
Revolution.
GIVE FEELING OF TERROR
They Are Verisimilitude OF
Russia's Travail, Says
WhittemOre.
BY HENRY MCBRIDE.

BY HENRY MCBRIDE.
Thomas Whittemore's article upon
The Bolsheviks and Cubis'n" In THIS
months Touchstone offers further con-
flrmation, IL confirmation were needed, or
Oscar wildes assertion that nature
copies art. Pablo Picasso, 1t seems,
foresaw the present state OF Russia HIS
cubLstic canvases provided the models
young artist In consequence is directly
responsible for the revolution. and now
that Mr.. Whttemore has. so to speak,
spilled the beans. his head isn't worth
two copecks-in Russia
The Russians themselves admit 1t Mr..
Whittemore says.
The creations of Picasso are prefer
natural, they are permeated with the
anguish and terror OF existenae-the
fear OF birth and death. All the Vio-
lence and change and growth or RUSSIA
since the revolution began are mirrored
here II is not I alone who say so. LETT
to myself | might not have caught the
analogy"
at is Russians themselves who find
hero their own 'madded' land"
Don't you see.' MIR. Schoukine said
to me one day Tt Is Russia And
surely as one stands In this room with
the silent. suffering people. one discerns
| there in this misty mirror the dim out
| lines OF their own enigmatic visage."
Mr. Whittemore's little article illumi-
mates much besides cub!sm How ardent
| an art student he was before going to
| Russia he doesn't say. but II was evident
| that his appreciations intensified and
| bpr y remained
in Boston ne would never have had the
courage TO borrow an analogy-and 1t Is
quite certain he would not have acquired
| the believing spirit without which one
| cannot accept cubism.
| To those of US who yearn to make the
| land OF dollars n land also OF art, with
| all the excitements and disinterestecnes Sc
that go with II. there is more than
| hint IN Mr.. Whittemores essay, or the
| kind of atmosphere that Is necessary
| OF the sort of coorful life out OF whicf
art grows spontaneously. The collapse
OF the social fabric in Russia could moi
destroy It; Il is evident in the contagiou:
| enthusiasm which Mr.. Whittemor'
could not escape. as much as in the ne"
| pictnresqueness that will evolve when tht
fragments of the old order come together
again.
S,me Russian collectors have safe
guarded their galleries under the new
regime, though all still stand In terror
OF the future. Where there is what II
termed national treasure" in the way o
art. the Rolshevist Government promise
protection, although the owners pleds'
is regarded as tantamount to giving M
collection outright TO the people
| Among the galleries thus pledged ar
those that contain the famous RUSSIAN
ikons of 81 Astroukov. those or
Hirschman with pictures by the moderi
Russians. and furniture OF the time
Catherine and of rau! and the mouse 0
NJ Serge IyanovitCh Schouklue. salu u
hold the most important private co''eC
tion of modern French pictures IN al
Europe.
"NIr Scbouklne speaks of his HON
ae the Gallery of the Revolution" write
Mr.. Whittemore. "ENery SUNDAY morn
ing between IL and l o'clock, eve
: during the narrowing days OF the reNolV
ton. NJ. Schoukine's collection has bee
omen TO the public. NJ. SchouNne
always there TO receive and talk VII
his guests There are seldom less Una
several hundred visitors. and they ar
from many classes OF RUSSIAN NE
students, painters, artisans, short ha're
: women and long haired men. pale race
and glittering. staring eyes. girdIe
shirts and the puTgrut odor known I
all who are familiar with Russia
; crowds of high boots
) "Corot and Manet in the first room
seem. in this fevered present OF
curiously bygone and forgotten pas
, The galleries face the south. and or
. sunny morning tn" pictures or Mat1S'
take YOU into their own 10Y OF lie,
| nF !