Judge — April 26, 1924 — page 31: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

vile and T tell .) It's dikins, present ie rcla- usiasin, s used id! And s little nember nner. , Sally. let you s after. can sit ces for + head.) UE glad a little J—No, tart a Irs out + hand ! God ! (He ORD. cel so adam? nile flow to Tell the Pictures from the Clam Chowder (Continued from page 22) “Why, look at this one! My little boy draws pictures better than that.” And so on, and so forth. But you know what they said as well as Ido. You have said the same things. They are e: to say. Gordon Craig's remark took rather more wit. He said that the need of modern art’ was proved by the first donkey which wagged its tail at the pie- ture of acarrot. That's what Mr. Cheney thinks, too, but he is quite too courteous: ly say it so bluntly. And what is modern art? “And the first rude sketch that the world had seen was joy to his mighty heart, ‘Till the Devil whispered behind the leaves, ‘It’s pretty, but is it art We reverse this now. It's ugly, but is it art? we ask. And the patient Cheney sets out to show us that beauty and ugliness are relative terms, but that art is an eternal creafive principle and mod- ern painting is, actually, the only paint- ing which conforms to it. The painting we have known for centuries is nothing hut photography. The artist created nothing, he merely reproduced what he saw, and the man who looked at his picture considered it beautiful in’ the degree that the object reproduced pleased him. But the modern artist doesn’t care a rap about reproducing the object so that you or anybody else can recognize He seeks to plinge through the object to some essential soul behind it, or else to paint his own soul as it is affected by the object. Modern art is not representa- tional; it is expressionistic. Hence he, and he alone, of all the artists down the ages, is really creative, is really an artist. Naturally, he cannot be judged by any standard hitherto applied by the adver- tising managers of corsets and complexion creams. All this Mr. Cheney sets forth with as much simplicity as the subject permits. We found one or two sentences, however, | which caused us a moment of delay, such as this one: “Readers will find in Dr. Pfister’s book an interesting series of analyses, and much material about solipsism, and autism in art, and their relation to automatic cryptetaly and reli- gious glossalaly.” We are ashamed to confess we had to} ask our hired man the meaning of | glossalaly. Just the same, it is a most interesting and informing book, which everybody | with an open mind ought to read. If) everybody with an open mind reads it, Mr. Cheney will doubtless sell nearly 500 | copies in these United States. Few people, of course, will agree with him that | representational art is doomed, or even that it ought to be doomed. But it is equally ridiculous to say that no art is| possible unless it is representational, and to pack off all the Modernists to the lunatic asylum, For that matter, whether we like it or not, modern art has so far affected us that Royal Cortissoz is prob- ably the only surviving American who| can any longer attend an annual Academy | show without feeling as if he were walking | back amid his ancestors. Wie H. An.enx, a second-hand book dealer in Philadelphia, sends me his catalogs, why I don’t know, for | I never bought a book from him, But I hope he keeps on. Since the days of | the old New York Sun (now resting under | the sod amid the host of other papers | chloroformed by Munsey), nothing has turned up humor in unexpected places so nonchalantly as the Allen lists. In his latest catalog, I find: Adams, Charles Francis—The Struggle for Neutrality in America. New York, 1871. 8v0 paper. 52 pages. $1.50. The only good thing about neutrality is its impossibility. It certainly is impossible about modern art. THE PAST AND NOW Where unsightly signs once obscured the rural scenery now stand hundreds of growing enterprises. 29 She is No Longer Fat She found a way to reduce her fat. Tt was a way far more pleasant than dieting or exercising would have been. This new way allowed her to eat foods without danger of be- coming fat again. She found Marmola Prescription Tablets. They aid the digestive system to obtain the full nutriment of food. They help Nature to turn food into muscle, bone and sinew instead of fat. Marmola Prescription Tablets are made from the famous Marmola prescription. Thousands have found that these handy tablets give com- plete relief from obesity. And when the accumulation of fat is checked, reduction to normal, healthy weight soon follows. All good drug stores the world over sell Marmola Prescription Tablets at one dollar a box, Ask your druggist for them, of order direct and they will be seat ia plan wrapper, postpaid. MARMOLA COMPANY 284 Garfield Bldg., Detroit, Mich. PERSONAL STATIONERY TOOENVELOFES 91.00 Printed with your Name and Address Clear, white bond paper, with envelopes to match, Your name’and address printed in beautiful, rich blue ink, both paper and envelopes, and sent to you post paid for nly $1.00. | (West of Denver and outside of U. S-$1,10 ) inconvenient to send the money, we will ship C. O. D. Money returned if you are not move thas satiated.” Ordet today. Write name and address plainly ELITE STATIONERY COMPANY 5075 Main Street Smethport, Pa. Saves 810 to © #25 on the Ranger Bl- JPME lect trom 44 Styles, colors free on approval e- Free Trial. MERE varment ee saat Bee! They all say GLOVER’S does the Business Wherever you go you hear men and women say "' There's nothing like Glover's for Dan- deufl and, falling hair. 1¢ surely does: the pusiness, For 36 years Glover's has been making friends by the thousan i re a Glover Medicines’ Made only by the H. CLAY GLOVER CO.,Inc. — A-3 127-20 West 24th Street — New York City comicbooks.com