DOI Artikel:
Paul B. [Burty] Haviland, What 291 Means to Me
DOI Artikel:C. [Charles] Demuth, Between Four and Five
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31336#0036
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“291” is to me a modern “Cour des Miracles " where kings can be found
in beggars' clothes, a laboratory where human beings as well as their produc-
tions may be mere subjects for experiment and analysis, and where investi-
gators of life can find the richest material at their disposition. It gives op-
portunity to those who want to give and to those who want to receive. But
how do we know who gives or who receives for he who thinks he gives, often
receives more than he gives, and he who thinks he is only taking, may have
given without knowing.
Have I given any idea of what “291" means to me? Perhaps not. How
could I ? It has meant something different, something new, every time I have
come in contact with it. It will continue to mean new things to me for it
is alive. There is but one definite thing which I can always depend on finding
there: Opportunity.
Paul B. Haviland
BETWEEN FOUR AND FIVE
The fore-noon had been this and that.
The after-noon dragged through an exhibition or two, a saloon or two,
—some art talk.
Then, somehow,—tired and discouraged, we found ourselves at Fisk's
suggestion, in a place, a gallery, that, I like the word place better than the
word gallery, for this place.
“May we see the new Picasso?"
It was brought into the room. A Picasso.
That was a moment.
“What does it mean?"—even with that felt by someone in the room, it
was a moment.
Again the fore-noon had been this and that.
Again the after-noon had been given to this and that—had been wasted.
“Let us go in here,"—and we went in again to the place which is more
that than gallery,—just a place in movement; just—rather, one of the few.
The walls this time were emotionally hung with African carvings,—
there was also yellow and orange and black; yellow, orange, black. There
were photographs of African carvings. There was a photograph of two hands.
That was a moment.
“Let us start a magazine,—a gallery,—a theatre": This is always in
the air; seldom: “Let me create a moment."
“What is he trying to say?”
C. Demuth
in beggars' clothes, a laboratory where human beings as well as their produc-
tions may be mere subjects for experiment and analysis, and where investi-
gators of life can find the richest material at their disposition. It gives op-
portunity to those who want to give and to those who want to receive. But
how do we know who gives or who receives for he who thinks he gives, often
receives more than he gives, and he who thinks he is only taking, may have
given without knowing.
Have I given any idea of what “291" means to me? Perhaps not. How
could I ? It has meant something different, something new, every time I have
come in contact with it. It will continue to mean new things to me for it
is alive. There is but one definite thing which I can always depend on finding
there: Opportunity.
Paul B. Haviland
BETWEEN FOUR AND FIVE
The fore-noon had been this and that.
The after-noon dragged through an exhibition or two, a saloon or two,
—some art talk.
Then, somehow,—tired and discouraged, we found ourselves at Fisk's
suggestion, in a place, a gallery, that, I like the word place better than the
word gallery, for this place.
“May we see the new Picasso?"
It was brought into the room. A Picasso.
That was a moment.
“What does it mean?"—even with that felt by someone in the room, it
was a moment.
Again the fore-noon had been this and that.
Again the after-noon had been given to this and that—had been wasted.
“Let us go in here,"—and we went in again to the place which is more
that than gallery,—just a place in movement; just—rather, one of the few.
The walls this time were emotionally hung with African carvings,—
there was also yellow and orange and black; yellow, orange, black. There
were photographs of African carvings. There was a photograph of two hands.
That was a moment.
“Let us start a magazine,—a gallery,—a theatre": This is always in
the air; seldom: “Let me create a moment."
“What is he trying to say?”
C. Demuth
