Evening star., 1923-05-31
The North Window
BY LEILA MECHLIN

At the recent convention of the
American Federation Of Arts, held last
week in st. Louis. two, things were
made evident by the numerous speak
ers from different parts OF the coun-
try-.that theresis a big place in mod
ern life for art on its recreational
side and that there is a great move
ment beneath the surface indicative
of art development.
In defining the meaning of modern
ism Oscar B. Jacobson OF the Uni
versity of Oklahoma called attention
to the fact that art is not infre-
quently in advance Of popular
thought. and drew the conclusion that
modernistic expressions In the field
OF art therefore either foretold the
decadence Of civilization or the re-
speaker. Dudley Crafts Watson. di-
rector OF the Milwaukee Art Insti-
tute, brought to attention the extraordi-
nary amount of leisure which is
today at the command of the work.
ing man and woman and pictured, in
almost terrifying fashion, the use to
which these hours are today being
put-such, for example. as q rest
less seeking of excitement in the NOV
ing picture theater. the dance hall,
bridge and whist table and motoring
On the other hand. 1t was learned
that much is being done to improve
and beautify the cities of America
ST Louis having lately secured a bond
issue of s87.000:0O0 for this purpose
alone; and that the love OF art is
spreading through the instrumen-
tality of the public schools, the
women's clubs. the public libraries
and the art museums to a far greater
extent than many are aware. One
little town in Kansas. with a popu-
lation of approximately 1000. was re-
art in the ownership of one out of
every six of it's citizens, and in the
farmhouses of that state are to be
found many etchings by Rembrandt
Whistler. Zorn and others. Headed
by dorado Taft, the sculptor Of the
Fountain OF Time and the Fountain
of the Great Lakes In Chicago. a COM
mite in Illinois Is awakening
through the medium of exhibitions.
lecturers and the like. interest in
art as a recreation asset in all Of the
little towns OF, that state. showing
the people. as far as can be. possi-
bilities in the line of production.
pointing out beauty in nature and in
art and SO widening vision.
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Prof. Jacobson is right; modern art
does reflect the trend. to great ex-
tent, of modern life. and it is none the
less ugly nor repulsiye for this rea-
SON; but, fortunately, It does not tell
the whole story. and curiously
enough. those whom it ailures are
chiefiy those to whom the life it re-
fleets is foreign. those who represent
a somewhat overripe civilization. and
are for this reason in search, not of
emotion. but sensation. The vulgar
ism of Main street" cannot be over
looked. but it Is not yet completely
current. To overlook it, however.
will not help to check it; ii must be
and If it is to be. wiped out something
better. and equally ailuring must be
substituted in its place.
Speaking at luncheon given by
the Friday Morning Music Club in
this city a fortnight ago. Daniel
said that those at the top-the know
ing, the so-called high -brows"-
were apt today to be frothy, to be
more interested in technicalities, than
in the substance of the thing itself:
whereas those. at the bottom-the
only for the substance and not the
spirit - in other words, vulgarized
art; but that in between the plain
man is not touched. and that from
this great stratum should come the art
OF the people. the art possessing the
elements of beauty. joy giving power.
rscr eatioral facility. :;
P - 80 &+ - - =
The truth is that art of this sort
is the art which lives. the art which
is really loved; for, despite the prize
juries and the talk about modernism
in art. there are comparatively few
who are buying the works of the So
called modernists and taking them
into their homes. OF course, it may
be that the occasional collector is
to believe that even he finds real
pleasure in that which is inarticulate
and comparatively. british.
A British art writer who confessed
to a dislike for the works of the
modernists was asked why. then, in
reply was: Because If I didn't the
young fellows who advocate them
would put me down as an old fogy."
Ten chances to one much of the toler-
ance of modernistic works of art
springs from the same source. So few
dare to be behind the times. to risk
being regarded as .'old fogies."
But how absurd all this seems
when one gets down to cold facts.
Here is what is said in a little folder
gotten out some while ago by the
American Federation of Arts entitled
why Bother About Art?": "A flower
pot is worth few cents: a bowl of
the same clay. a few dollars: a vase
exquisitely formed and. finely glazed
or darnrofaH n
dollars. The difference between a
kitchen chair and a Chippendale chair
is a matter. not of materials, but art.
The cities of Europe are visited be-
cause they are beautiful-works of
civic art. The artistic home is the
one of the few things in the world
that is permanent. The art of Greece
is still the glory Of that great nation.
So is the art Of Italy. of France. A
knowledge of art can give more
pleasure than almost anything else.
1t can make one rich. 1t can give
one a vista and vision. 1t reveals
hidden beauty. 1t Is like the window
in the workshop that let's in the sun
shine and gives beautiful outlook
1t makes life more worth while. 1t
makes living better"
So often it Is said that the great
masses do not care about art, that
the common people of America are
not instinctively artistic, but 1t Is
not so. Great art delivers its mes
sage simply and is generally under
stood. Beauty appeals to almost all;
it. Perhaps we have not here among
the young people of America the in
stinctive reverence for art which is
bred by association and tradition in