The New York herald., 1922-05-14

lows, the dialogue occurring. OF course.
at Edith Dale's:
4 At this point, little schoolmarn
type or person, with a sharp nose and
eyeglasses, rose and shriily began to
complain.
II am mere lay woman. ! don't
know thing about modern art. I've
oeen trying to learn something for five
years. In the effort / have attended
all the meetings like this that 1 could
In Paris. New York and London. There's
always a lot Of talk. but nothing is
ever clear. Now I'd like to know II
there isn't some explanation OF modern
art. an explanation that mere lay
woman could understand
There was ripple Of amused laugh
ter among the young artists and a rapid
exchange OF glances, but not one OF
them arose. Instead a rather massive
female, utterly unknown to me, with as
many rows OF gold braid across her
chest as French Academician, a porter
at the Credit Lyonnais or soldier in
the army OF the Prince Of Monaco,
stood on her feet.
What, exactly. would you like to
known she asked in a voice in which
authority and confidence were equal
elements
I'D like to know everything, but ia
be satisfied with anything. What, for
instance. is the meaning Of that pic
ture?"
She pointed to Andrew Dasburgs 'The
Absence OF Edith Dale" cubistic con-
tribution 10 aesthetic production In sew
eral planes and the colors Of red. yellow
and blue.
The massive lady began with some
hesitation. Her confidence had not de-
serted her, but she seemed to be search
ing for the precise words.
WELL" she said. that picture is the
kind Of picture that gives pleasure to
the kind Of people who like that kind
of picture. The arrangement OF planes
and colors is very satisfying. Perhaps
could explain It to you In terms OF
music. Do you understand the termin-
ology OF muster"
mot at ALL" snapped the little
woman with the eyeglasses.
The massive lady seemed gratified and
continued: I'm that case. you may have
difficulty In following me. but II you
take the first and SECOND themes OF q
sonata, their statement, the development
or working out section. the recapitula-
ton. the coda--it has some relation to
the sonata form certainly, but-the ar
tist Is In the room. the artist who
painted the picture. Won't you explain
the picture. Mr. Dasburg?"
Andrew. very much amused. did not
take the trouble to rise.
THE picture is there" he said. "You
can look at It," Then. after O pause. he
added: Henry James says. Woe in the
aesthetic line. to any example that
requires the escort OF precept.' It is
like a guest arriving to dine accom-
panied by constables."
Then" said the little lady solemn,y.
woe to that picture, woe to It, for e
certainly requires the escort OF precept."
The entire art world. no doubt, VIII
feel obliged to talk about Peter Whit
fle' because of It's faithful, almost
photographic record OF the doings at
Edith Dale's. The entire art world
buzzed at the time that these proceed
ings were proceeding, and this record "a
vivid enough to have all OF the old insti-
cation. The book Is remarkable, too,
for several other reasons. one OF them
being that It marks the entrance OF mod
ern art into American literature.
The writers OF the day have shown
an extraordinary fear of committing
themselves upon questions Of art or
music and when they have desired to
put forward an appearance of culture
have been obliged TO limit themselves
to quotations from the poets. Culture
is not exclusively literary, however, and
Carl Van Vechten's witty and authorita-
tive allusions to painting and music may
incite some Of his contemporaries to
limitations.