They have
assisted in the establishment of a native tradition which without
question has by this time a definite foundation. The public must be
made aware of their contribution to a native production. It will no
doubt be a matter for surprise to many people in the world today that
art in general is more national or local than it has ever been, due
mostly to the recent upheaval, which has been of great service to the
re-establishment of art interest and art appreciation everywhere in
the modern world. Art, like life, has had to begin all over again,
for the very end of the world had been made visible at last. The
artist may look safely over an utterly new horizon, which is the only
encouragement the artist of today can hope for.

MODERN ART IN AMERICA

The question may be asked, what is the hope of modern art in America?
The first reply would be that modern art will one day be realized in
America if only from experience we learn that all things happen in
America by means of the epidemical principle. It is of little visible
use that single individuals, by sitting in the solitary confinement of
their as yet little understood enthusiasms, shall hope to achieve what
is necessary for the American idea, precisely as necessary for us here
as for the peoples of Europe who have long since recognized that any
movement toward expression is a movement of unquestionable importance.
Until the moment when public sincerity and the public passion for
excitement is stimulated, the vague art interests of America will go
on in their dry and conventional manner. The very acute discernment of
Maurice Vlaminck that "intelligence is international, stupidity is
national, art is local" is a valuable deduction to make, and applies
in the two latter instances as admirably to America as to any other
country. Our national stupidity in matters of esthetic modernity is a
matter for obvious acceptance, and not at all for amazement.

That art is local is likewise just as true of America as of any other
country, and despite the judgment of stodgy minds, there is a
definite product which is peculiar to our specific temper and
localized sensibility as it is of any other country which is nameable.
Despite the fact that impressionism is still exaggeration, and that
large sums are still being paid for a "sheep-piece" of Charles Jacque,
as likewise for a Ridgeway Knight, there is a well defined grouping of
younger painters working for a definitely lo