The Richmond Virginian. (Richmond, Va.) 1910-1920, 1919-06-01
WHAT IS TO BECOME OF
THE MINOR ARTISTS?
Shall Only Those of First Magnitude
Be Permitted to shine?

New York, May 2n--What shall we
we room for them In the modern
world, or ought we to discourage their
efforts and let only those persons
write our poetry, paint our pictures,
superlatisely well?
French educator who came 10
the United States on an official visit
in the days VIXEN the strategy OF Won
Hindenburg was prospecting and when
the world efficiency had a half thrill
ling, half friShtful. sound, expressed
his opinion on the matter very plain
ly He declared that there had been
in France In late years altogether too
many artists and not nearly enough
business men. and he averred that
the more advanced patriots, amongst
whom he counted himself were be-
ginning TO take spartan view. and
were in favor OF letting the weaker
sons of the muses. ba exposed upon
the mountains.
1T Is our duty" ne remarked, ito
be a country OF self-supporting citi-
zens We ought to understand that
a superiority OF architects. sculptors.
anu HIAtflS III u PtA iph NJ ihtNit's
tionai economic expansion which fol-
lows the war will be disadvantage
to us A man of slender talents had
better do what he can TO strengthen
the commercial position OF France
that to waste himself In an effort
to make some artistic contribution"
To illustrate the point. he looked
ahead a little 20 reconstruction times,
and explained that a man who helps
ever so little in the management or
the trans continental railroad which
is to connect the French Atlantic
coast with The Levant, will he OF more
service than one who spends his time
vainly trying to get his paintings
hung on the walls OF the salon or his
dramas produced on the stage Of the
comedy.
Under thu regime dreamed OF by
this educator. necessarily all minor
artists would disappear. and only
those OF first-rate genius would re-
main Under IT. many problems that
disturb the gentler departments OF
civilization would cease TO exist.
Publishers could print, without risk.
all works submitted to them. Pic
ture juries would not he needed. the
curator would only have to take the
portraits and landscapes In at the
do and nang them all on the line.
Theatrical managers would receive
manuscripts from the author and as
sign the pats at once, Orchestral
conductors eould put on their pro-
grams whatever novelty the compos-
er sent, without anxiety as TO the
consequences.
Under such a regime. again. all
criticism of books, paintings. plays or
symphonies could he dispensed with.
except, perhaps. a little descriptive
critism since there would he no rela-
tive values to he discussed. Possibly.
also, under such regime there
would he no progress: and II the
French people, taking the EDUCATORS
advice. were to do away with the min
or artists. they might find that they
were doing away with their major
ones also.
A French composer who undoubt-
eddy comes under the minor classical
ton is Louis Aubert. two OF whose
piano pieces T.. Robert Schmitz in
PRODUCED To New York ut recital in
Aelon hall in April and repeated be-
fore a private gathering at the house
of Carlos Salzedo, the harpist, on May
10. The pieces. which are called sill
lagos" are by no means new. for
they have been in print since 1913.
That is not far from the year when
Aubert visited the United States as
guest of Henry Russell. director Of
the sometime Boston Opera company,
to attend the production of his fairy
music drama. La Foret Bleue." The
piano pieces, "Sillages," which Mr..
Schmitz mas brought over from
France in his repertory. though not
new, represent later Aubert, really,
than the opera, which was composed
a number OF years before II was pro-
duced in Boston. They represent
more advanced Aubert that the opera.
II one chooses toAthink So: yet they