International studio (60.1916/1917)

Modern Art: The New Spirit in America

Modern art: the new spirit
IN AMERICA
BY WILLARD HUNTINGTON
WRIGHT
Editor's Note.—So many galleries are exhibiting mod-
ern art that every reflecting person must be convinced that
there is something in it in spite of the declaiming attitude
of many of the older artists, who are steeped in academical
tradition and therefore unwilling to see any other point
of view than their own. The International Studio,
ever anxious to open its columns to all sincere endeavour,
no matter what the school or creed may be, has obtained
the services of Mr. Willard Huntington Wright, who is
specially qualified to criticise the best work that is being
performed by different artists upon comparatively new
lines. It is hoped that many art lovers who are not stim-
ulated by the ordinary exhibition picture will turn with
interest to the recurring critique which Mr. Wright will
give monthly in these
columns over the more
recent art tendencies.
The modern fac¬
tion of the present
art season was
ushered in this
month by two ex¬
hibitions represent¬
ing the newer and
younger painters of
this country—one
at the Montross
Galleries, the other
at Daniel’s. Dur¬
ing the last two
years the more re¬
cent developments
in painting in
Europe have had
wide influence on
American art.
There have been
wanting no num-
ber of adherents to the new experimental
tendencies; galleries which a few seasons back
would have refused admittance to the strange
and colourful canvases of the aesthetic revo-
lutionists have now thrown open their doors
to the new-comers; critics everywhere have
shown a tendency to cease their ridicule and to
attempt seriously to find their way into the com-
plexities of the recent work; the public itself has
not been backward in attending the modern shows;
and—what is most significant perhaps—there is
now a definite commercial demand for modern
pictures. All in all, the new painting has taken
a strong foothold in this country. A very large

proportion of the exhibitions last year dealt with
the more recent art manifestations, and the pros-
pects for the present season promise even a larger
display of the modern work.
The reason for this somewhat startling change
is not far to seek. It was at first thought that
the new painting dealt wholly in bizarreries and
trivialities, that it was antipodal to the old and
strove only to startle by its novelty of effect.
But later, after a more general understanding of
its ideals had come about, many saw that the
new aspired only to carry on the old through an
evolution of means and methods, that funda-
mentally the two were not unlike, that in appear-
ance only, and not
in aesthetic prin-
ciple, did they dif-
fer. But whether
one gives support
to the new work or
not, it has become
an unavoidable fac-
tor in American art.
One cannot escape
it entirely: its ac-
tivities are too ex-
tensive and too
numerous; too
much is being writ-
ten about it; too
many galleries are
exposing it; too
many spectators
are being drawn to
it. Its existence
must be accepted,
although its value
may be rejected.
No longer can it be ignored. As I have said,
two galleries have already this season displayed
numerous examples of the new work; and while
it is too early to expect the best from the
younger talent or to welcome any of the new-
comers to the ranks of permanent native in-
novators, nevertheless both these exhibitions have
revealed much conspicuous promise besides show-
ing many canvases of men already well known in
the modern movement. Among the more promi-
nent names may be mentioned Marin, McFee,
Benton, Man Ray, Walkowitz, Zorach, Hartley,
Kroll, Of, Dasburg and Halpert.
The work of all these painters was seen last

Courtesy Montross Gallery.
INTERIOR WITH STILL LIFE BY HENRY L. M’FEE


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