{"numero_id": "bm-bmtnaao-1915-03-01", "volume": "bmtnaao_1915-03_01", "ocr_sha256": "883d3a3302a862ffeff4bc8e75c3520b4cde086e32394f2c05ec89cad376697c", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaao/issues/1915/03_01/bmtnaao_1915-03_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaao/issues/1915/03_01/bmtnaao_1915-03_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01", "articles": [{"article_id": "bm-bmtnaao-1915-03-01-c001", "article_bluemountain": "bmtnaao_1915-03_01#c001", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.1", "titre_corps": "291 throws back its forelock", "titre_sommaire": "291 throws back its forelock", "signature_source": "M. de Zayas", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.1", "debut_caractere": 0, "fin_caractere_exclue": 41, "texte": "291 throws\nback its forelock.\nM. de Zayas"}]}, {"article_id": "bm-bmtnaao-1915-03-01-c002", "article_bluemountain": "bmtnaao_1915-03_01#c002", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.2", "titre_corps": "HOW VERSUS WHY", "titre_sommaire": "HOW VERSUS WHY", "signature_source": "AGNES ERNST MEYER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 11488, "texte": "HOW VERSUS WHY\nAGNES ERNST MEYER\nThe best one can say of American art criticism is that its CLEVERNESS\nOFTEN CONCEALS ITS LACK OF PENETRATION. But no doubt a large\npart of the public would rather have Mr. Huneker as he is than not have\nhim at all. The amusing has some justification, if only to meet the needs\nof that baneful American influence the tired business man.\nOften—much more often alas—art criticism as it is published in our\njournals is nothing but the most unintelligent twaddle. Unfortunately it\nis not as harmless as it is silly for the written word subtly influences even\nthe wary, especially if it is printed in a publication of standing and most\npeople are perfectly willing to think about art in the terms of their favorite\nnewspaper.\nBe it clever or be it silly, one thing can be said of all our art criticism\nto-day: IT IS OBSOLETE. It measures a new product with old standards\nand is therefore insidiously pernicious for it clouds the issues and often\nbefogs the mind of the public before the work of art has been able to make\nits own appeal. When it is too frank to use its antiquated wisdom, it sub-\nstitutes a jest.\nART HAS ALWAYS PROGRESSED AS THOUGHT HAS PROGRESSED, the most\nrevolutionary changes having taken place within the last fifty years as a\nnatural pace-keeping with the tremendous development of thought. But\nAmerican criticism has again demonstrated that our best brains are devoted\nto production and not to pure thought for criticism in its methods has lagged\nlamentably behind the product it presumes to estimate. The scientific\ninfluence has at last invaded the field of art but its critics still wander\nblissfully in the land of romance.\nI must explain what I mean by the SCIENTIFIC INFLUENCE IN ART\nfor I know that the critics whom you respect the most, such as Mr. Ruskin\nand Mr. Berenson, do not believe in an evolution of art. Ruskin says quite\ndefinitely: “Art must remain what it was two thousand years ago in the age of Phidias.\"\nBut hear him in the very next paragraph: “For a long time the function of art\nwas a religious one. That function has now passed away and none has taken its place.\nThe painter has no profession, no purpose. He is an idler on the earth, chasing the shadows\nof his own fancies.” And in an effort to give this useless person some raison\nd’etre Ruskin thinks he ought to devote himself to “recording objects of his-\ntorical interest or beauty existing in his period.\" But we all know that since\nRuskin’s day the photographer has learned to fulfill this mission much\nbetter than any painter could. Consequently Mr. Ruskin says that art\nwill always be the same, that it has already undergone several changes, and\nthe slight function which he still attributes to his contemporaries in art\nhas already been taken away from ours. According to the theories of our\ngreatest critic art should have been dead long ago.\nBUT ART IS NOT DEAD! It has not only outlived Mr. Ruskin but will\ncontinue to outlive all others who prophesy its end by defining its limita-\ntions. Having gone through the religious, and what might, broadly speak-\ning, be termed the photographic era, it began to feel the influence of the\nreasoning and scientific era. The natural result was a constantly increasing\nemphasis of the new element until we get in Cezanne, Matisse, Picasso a\nPERFECTLY CONNECTED CHAIN FROM APPLIED TO PURE REASON. This\ndoes not by any means signify that the emotional side of art is eliminated.\nOn the contrary, just as no scientific discovery was ever made without an\na priori idea as its point of departure, so no convincing modern work of art\nno matter how thoroughly reasoned it may be, can come into existence\nwithout an emotion as its basis. We have then a PERFECTLY CLEAR DE-\nVELOPMENT OF THE aesthetic EMOTION over which reason has as-\nsumed so increasing a domination that many of its latest products are\nhighly scientific in origin, thus reflecting faithfully man’s progress in mental\ndevelopment.\nWhat is more logical than to demand that SCIENCE IN CRITICISM\nMUST MEET SCIENCE IN ART? The critics’ reply naturally would be:\n“What do you mean by scientific criticism?’’ I can give the clearest answer to\nthis question by turning to pure science for an illustration. When a scientist\nasserts that H2o= water, he means that a certain quantity of hydrogen and\na certain quantity of oxygen will produce water. He knows HOW water\ncan be made, he does not know WHY. He knows moreover that he can\nnot know WHY, that all the “WHYS” of life belong to another realm than\nhis, namely, that of philosophy. In other words HOW a thing came into\nexistence is usually analysable, WHY it came into existence is invariably\na mystery. The WHY of art is its emotional, the HOW its reasoned ele-\nment. Through all the ages art criticism has quite naturally occupied itself\nwith the WHY of art, with its emotional side, this until now having been\nits main precipitant. “291” realizing that conditions were changing and\nthat the element of reason was assuming as important, if not more important\na role than the emotional element, has resolutely devoted its energy to\nexplaining the “HOW” of art, content to let the romanticists continue\ntheir vague struggle as long as the battle with windmills and the EXPLANA-\nTION OF THEIR OWN PERSONALITIES might amuse them.\nRecognizing that absolute knowledge is possible in no field of human\nendeavor and that reason in serving as a corrective to the emotions by no\nmeans does away with them, we have deemed it of infinitely greater value\nto STRIVE FOR THE KNOW ABLE than to join the ranks of those who\ncontinue to seek the unknowable. In other words we maintain that\nSCIENTIFIC CRITICISM IS POSSIBLE. Science is nothing but a systema-\ntizing of the knowable and we insist that this is just as possible in art as\nin any other field of phenomena. Our first attempts may be just as crude\nas all first attempts along scientific lines, but we are convinced that the\ndirection being right and in accord with modern needs, our method of judg-\ning modern works of art is temporarily at least the only one that can have\nresults of any value. At the same time we do not presume to establish\npermanent dogmatic rules for criticism. On the contrary, just as the\nscientist must change his ideas as science progresses so we shall be ready\nto give up all theories of “Scientific” criticism as soon as art changes its\nrole in our lives and begins to interpret a different mental state.\nWHAT CONSTITUTES A SCIENTIFIC CRITICISM? In what manner can\nthe “HOW” and the “WHY” of art, the knowable and the unknowable\nelements be distinguished? Once it is granted that there is such a thing\nas an evolution in art, immediately two points of view are established from\nwhich all works of art must be judged, first from the point of view of the\nproducer, and secondly from the point of view of the evolutional develop-\nment. Under the first aspect we must determine what the artist wishes to\nexpress and how adequately he succeeds in that expression; under the\nsecond aspect we must decide upon the value of that expression as an\naddition to what has already been said. Criticism of modern art must\nanalyze the thought-process of the artist’s mind, the way in which he\nthinks, how adequately he translates his thoughts into the symbols of his\ntrade and what his relationship is to his fellow artists. IT MUST DETERMINE\nTHE VALUE OF THE ARTIST’S CONCEPTION PER SE AND ALSO ITS VALUE\nIN THE EVOLUTIONAL CHAIN.\nSuch a point of view inevitably does away with the old emotional\nattitude of “Why I like it and why I don’t.’’ Likes and dislikes are completely\nswept aside by the scientific critic not as unimportant but because he will\nnot permit the intrusion of mere personal bias in view of the fact that\nmodern psychology has made it impossible for him to believe in objective\nbeauty in art. Since it is extremely unlikely that any two persons get the\nsame impression of the commonest article of daily use, how can they\npossibly get the same emotional reaction from so complex a thing as a\nwork of art? And even if such a thing were thinkable, how can any one\nhope to translate the beauty of painting into the totally unrelated beauty\nof words? The most that the emotional school of critics has ever accom-\nplished, even in its very distinguished exponents, has been the revelation\nof a great and sensitive personality or the creation of literature sometimes\nof rare loveliness, sometimes of deep moral and philosophic import. This\nmay be infinitely more valuable than a COLD DISSECTION OF AN ARTISTIC\nMENTALITY and a weighing of its relative worth in the onward march of\nhuman development, but the latter method has the advantage of sticking\nto the business at hand, of accomplishing a well defined task, of understand-\ning and frankly admitting its limitations, thereby rendering the double\nservice of helping where help can be given and then pointing out the\nregions where all who enter must win each his own salvation.\nWith so impersonal and reasoned a basis for his criticisms the modern\ncritic has every right to assume a constructive attitude towards art and\nWORK consciously to help build up the future. I personally be-\nlieve that we are at present in what may be called the SCHOLASTIC PERIOD\nOF ART. I believe that exactly the same thing has happened in the\naesthetically emotional world of to-day that happened to thought in the\nmiddle ages when reason, rediscovered, took the religiously emotional\nworld by storm. The result now as in the age of scholasticism is a PERIOD\nOF SYSTEMS, impressionism, cubism, futurism, what you will, but such a\nstate of things can be helped or combated, the point of view matters little,\nonly by a constructive or destructive analysis along the lines indicated\nand not by uncritical admiration or unintelligent abuse. The human mind\nhas had three stages of development, the emotional, the rational and the\nexperimental. Art has arrived at the rational stage, the overrational stage\nperhaps, but the critic must go one step further and BECOME AN EXPERI-\nMENTALIST for an impersonal consideration of all the products of scholas-\nticism is the only method by which its spell can be broken, the only way\nin which its artificial products can be discovered and eliminated and its\ntruth pointed out and retained. HE MUST WELCOME ALL THE NEW\nSYSTEMS in turn no matter how mad they may seem, but after a careful\nanalysis of each, he should state with adequate reasons just what has been\naccomplished and what has not or cannot be done. With such an attitude\nthe critic will have as clearly defined a right to carry his EXPERIMENTALLY\nOBTAINED DEDUCTIONS into the future as has the scientist who, having\nconfirmed the working of a law after observing sufficiently great a number\nof phenomena, gains the world’s acceptance of his discovery until new\nphenomena prove him to be wrong. And let us hope that experiment in\nart as in science will tend to throw all systems overboard leaving the artist\nfree once more to find his own truths with an untrammeled mind. Who\nknows, with such intelligent cooperation on the part of the critic, art may\neven discover, not its future, but at least its present limitations which now\nit certainly does not know. Literary painting, musical color and form\ninterpretations, mathematical and fourth-dimensional somersaults may\nall be relegated to the scrap heap but from it would arise a new art that\nwould be NOT THE PRODUCT OF FOREIGN LAWS BUT A LAW UNTO ITSELF."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c003", "article_bluemountain": "bmtnaao_1915-03_01#c003", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.3", "titre_corps": "VOYAGE : A Mlle Paula Valmont", "titre_sommaire": "VOYAGE : A Mlle Paula Valmont", "signature_source": "Guillaume Apollinaire", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 60, "texte": "VOYAGE\nA Mile Paula Valmont\nIdeogramme\nGuillaume Apollinaire"}]}, {"article_id": "bm-bmtnaao-1915-03-01-c004", "article_bluemountain": "bmtnaao_1915-03_01#c004", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.4", "titre_corps": "ONE HOUR’S SLEEP THREE DREAMS", "titre_sommaire": "ONE HOUR’S SLEEP THREE DREAMS", "signature_source": "Alfred Stieglitz", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.3", "debut_caractere": 62, "fin_caractere_exclue": 3385, "texte": "ONE HOUR’S SLEEP\nTHREE DREAMS\nAlfred Stieglitz\nI.\nI was to be buried. The whole family stood\nabout. Also hundreds of friends. My wish\nwas carried out. Not a word was uttered.\nThere was not a single tear. All was silence\nand all seemed blackness. A door opened and\na woman came in. As the woman came in I\nstood up; my eyes opened. But I was dead.\nAll screamed and rushed away. There was a\ngeneral panic. Some jumped out of the windows.\nOnly the Woman remained. Her gaze was\nfixed upon me. Eye to Eye. She said: “Friend\nare you really dead?” The voice was firm and\nclear. No answer. The Woman asked three\ntimes. No answer. As she asked the third\ntime I returned to my original position and was\nready to be buried. I heard one great\nsob. I awoke.\n11.\nI was very ill and everyone asked me to take\na rest. No one succeeded to induce me.\nFinally a Woman said: “I will go with you. Will\nyou go?” We went. We tramped together day\nand night. In the mountains. Over snow. In\nthe moonlight. In the glaring sun. We had no\nfood. Not a word was said. The Woman grew\npaler and paler as the days and nights passed by.\nShe could hardly walk. I helped her. And still\nnot a word was uttered. Finally the Woman\ncollapsed and she said, in a voice hardly audible:\n“Food—Food—I must have food.” And I\nanswered: “Food—Food—, Child, we are in a\nworld where there is no Food—just Spirit—\nWill.”—And the Woman looked piteously at me\nand said, half dead: “Food—Food” and I\nkissed the Woman, and as I did that there stood\nbefore the Woman all sorts of wonderful food—\non a simple wooden table, and it was Springtime.\nAnd as the Woman began to eat ravenously—\nconscious of nothing but Nature’s Cry for Food,\nI slipped away. And I continued walking On-\nward. I heard a distant cry. I awoke.\n111.\nThe Woman and I were alone in a room. She\ntold me a Love Story. I knew it was her own.\nI understood why she could not love me. And\nas the Woman told me the story—she suddenly\nbecame mad—she kissed me in her ravings—\nshe tore her clothes and mine—she tore her\nhair. Her eyes were wild—and nearly blank.\nI saw them looking into mine. She kissed me\npassionately and cried: “Why are you not HE?”\n“Why not?” And I tried to calm her. But did\nnot succeed. And finally she cried: “What\nmakes me kiss you—it is He I want, not you.\nAnd yet I kissed you. Kissed you as if it were\nHe.”—I didn’t dare to move. It was not fear\nthat made me stand still. It was all much too\nterrible for Fear. I stood there spell-bound.\nSuddenly the woman moved away—it was\nghastly. Her look. Her eyes. The Woman\nstood immovable, her eyes glued on mine; when\nsuddenly she screeched: “Tell me you are He\n—tell me—you are He. And if you are not He\nI will kill you. For I kissed you.” I stood there\nand calmly said, what I really did not want to\nsay, for I knew the Woman was irresponsible\nand mad. I said, “I am not He.” And as I said\nthat the Woman took a knife from the folds of\nher dress and rushed at me. She struck the\nheart. The blood spurted straight ahead, as\nif it had been waiting for an outlet. And as the\nWoman saw the blood and saw me drop dead\nshe became perfectly sane. She stood motion-\nless. With no expression. She turned around.\nUpon the immaculate white wall she saw written\nin Blood Red letters: “He killed himself. He\nunderstood the kisses.” There was a scream.\nI awoke."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c005", "article_bluemountain": "bmtnaao_1915-03_01#c005", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "4", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.5", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "Paul B. Haviland", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 3969, "texte": "Paul B. Haviland\nProfessor What I wonder at, is why you did not tell the world what 291 is.\n291 I wanted the other people to tell me.\nProf. Have they done so ?\n291 Each one of the sixty odd contributors has said what 291 was to him; the sum total of what it is to\neach individual makes up the spirit of 291.\nProf. Very well, they have given you the spirit of 291 but they have not told you what definite thing 291\nrepresents.\n291 It represents nothing definite; it is ever growing, constantly changing and developing.\nProf. And how is it going to develop ?\n291 That, I do not know; nobody knows.\nProf. But somebody should know; somebody should at least know what it should accomplish. If 291 is\nnothing definite but only a spirit, how can it do its work? We know now, what the spirit of 291 is,\nas nearly as a spirit can be known. What we should know for the future is 291 the machine which\nwill provide the channels through which this wonderful spirit can accomplish useful work.\n291 That will come of itself, in the course of events.\nProf. Precisely; but there is a logical sequence in the course of events. The past history of 291 shows\nit. . . You started with a fight for photography; you wanted your problem answered; “What is\nphotography ?”; you got the photographers together, you held exhibitions, you published repro-\nductions of meritorious work; writers came who wrote about photography and out of all these\nefforts came an answer. We all know now what photography is, what it can accomplish; we have\nstandards by which we can judge new work. What was 291 while all this was going on ?\n291 Nothing but a laboratory, a place for experiments.\nProf. And is it not still a laboratory, only with new problems to solve?\n291 That is what it is.\nProf. And what is the object of a laboratory ?\n291 To experiment.\nProf. And what do experiments lead to ?\n291 To finding out.\nProf. Now, at last, we have a definition of what 291 is; a laboratory where experiments are conducted\nin order to find out something. Now, the inevitable sequence which man follows in experimental\nscience is:\nIst. To establish facts or phenomena by observation and experimentation.\n2d. To arrive through induction from these facts or phenomena to their general relationship or laws.\n3d. To start from these laws to arrive by logical deductive reasoning to the discovery of other facts\nwhich may in turn be included in the general law.\nNow, I have noticed of late that you, 291, have been, so to speak, marking time. You are waiting\nfor the “WHAT NEXT?” For me, who have been watching you closely for many years the\n“WHAT NEXT?” is clear. You are at the end of your first period; you have gathered your\ndata, you have made your observations. You are about to enter your second period in which you\nwill arrive at the laws which govern the phenomena you have observed. This may be a long\nperiod, for new data will constantly be coming up which may cause you to modify or abandon the\ntheories you will evolve before you strike the answer that will satisfy you. That must be your next\nstep if all your experimenting is not to remain sterile, and when that is done, then we will talk\nabout the last period.\n291 But laws are the very things I have been fighting against all my life.\nProf. Let us not quarrel about words. You have been fighting against FIXED laws which impede prog-\nress and development. The laws I mean are but our conception of the relationship of phenomena\nwhich we use as guides in making new discoveries. That, I believe is what you have always sought\nto discover. If 291 sees clearly the path which is traced for it, great things may be expected from\nit for its preliminary work has been well done.\nW' hen I arrived at 291 the Spirit of 291 was manifesting itself at its best; 291 himself was at the height of an\nanimated discussion with the Professor.\n291 is a trinity; a place, a person and a symbol, so be not surprised if I refer without transition to its separate\nentities."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c006", "article_bluemountain": "bmtnaao_1915-03_01#c006", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.6", "titre_corps": "Oil and Vinegar Caster", "titre_sommaire": "Oil and Vinegar Caster", "signature_source": "Picasso", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 30, "texte": "Oil and Vinegar Caster\nPicasso"}]}, {"article_id": "bm-bmtnaao-1915-03-01-c007", "article_bluemountain": "bmtnaao_1915-03_01#c007", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.7", "titre_corps": "SIMULTANISM", "titre_sommaire": "SIMULTANISM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "debut_caractere": 32, "fin_caractere_exclue": 1375, "texte": "SIMULTANISM:\nThe idea of Simultanism is expressed\nin painting by the simultaneous repre-\nsentation of the different figures of a form\nseen from different points of view, as\nPicasso and Braque did some time ago;\nor by the simultaneous representation of\nthe figure of several forms as the futurists\nIn literature the idea is expressed by the\npolyphony of simultaneous voices which\nsay different things. Of course, printing\nis not an adequate medium, for succession\nin this medium is unavoidable and a\nphonograph is more suitable.\nThat the idea of simultanism is essen-\ntially naturalistic is obvious; that the\npolyphony of interwoven sounds and\nmeanings has a decided effect upon our\nsenses is unquestionable, and that we can\nget at the spirit of things through this\nsystem is demonstrable.\nEXAMPLE:\nAt the Arden Gallery, 599 Fifth Avenue\n“OH, COME ON, LET’S GO TO\nMAILLARDS.”\n“I SAT NEXT REV. AT GLADYS’\nLUNCHEON.”\n“NOBODY COULD LOOK HUMAN\nIN THESE FULL SKIRTS.”\n“DO YOU THINK HER HUSBAND\nKNOWS IT?”\n“SHE SAYS SHE’S A NEUTRAL\nBUT ”\n“WHY DON’T THEY SERVE TEA\nHERE?”\n{All these phrases must be uttered\nsimultaneously.)\nN. B. The object of the Arden Gallery,\nopened recently, is to encourage the Arts\nand Crafts in New York. Paintings,\nsculptures, furniture, tapestries and tex-\ntiles from the seventh to the seventeenth\ncentury are on exhibition."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c008", "article_bluemountain": "bmtnaao_1915-03_01#c008", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.8", "titre_corps": "SINCERISM", "titre_sommaire": "SINCERISM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "debut_caractere": 1377, "fin_caractere_exclue": 2665, "texte": "SINCERISM:\nJust before the war a new tendency in\nart was initiated in Paris by the Italian\nmusician Albert Savinio. He called it\n“Sincerism.” Most of the music of\nSavinio is based essentially on music,\nhis source of inspiration is music, music\nthat has been written, and music that he\nhears. Instead of trying to translate life\ninto music, he translates music into music.\nThe sincerism consists in frankly ac-\nknowledging the musical motives which\nserved as points of departure of his own\ncompositions.\nNothing more natural for an artist than\nto have for his objectivity the art that he\npractices. Mr. Max Weber finds him-\nself in this position.\nNo painter in America, that I know of,\nhas a deeper knowledge of technique and\ngreater skill in the metier than Mr. Max\nWeber. Possibly this is the reason why\nhe has made painting his objectivity.\nThe exhibition of his pictures in the\nPrint Gallery showed how remarkable\nMr. Weber can develop and carry to a\ngreater degree both of intention and\ntechnique the paintings of many of the\nmodern masters.\nFor the superficial critic this attitude\nis a crime. For any one who knows the\nmechanism of Art, what Mr. Weber has\naccomplishedjs of great merit.\nI sincerely believe that Mr. Weber is\nthe man to found the school of “Sincer-\nism” in New York."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c009", "article_bluemountain": "bmtnaao_1915-03_01#c009", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.9", "titre_corps": "UNILATERALS", "titre_sommaire": "UNILATERALS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "debut_caractere": 2667, "fin_caractere_exclue": 4009, "texte": "UNILATERALS:\nThe unilaterals in art matters were\nvery much perplexed to see that in the\nGalleries of “291” there were on exhibi-\ntion paintings of a naturalistic character\nfollowing the exhibitions of negro savage\nart, of the paintings by Picasso and Braque\nand of Picabia. They thought that the\nsanctuary of the mystery of abstract art\nwas profanated by the work of Miss\nBeckett and Miss Rhoades which cer-\ntainly has no mystery, and they saw no\nproblem where there really is a great one:\nthe development of the individual by the\naction of his work on the public.\nThe public of “291” has been accus-\ntomed to receive and never before has\nbeen asked to give. It has taken for\ngranted that we owed it all our efforts to\npresent to New York the principal tenta-\ntives of modern art for its own amuse-\nment, merely as a form of social function.\nNo, the efforts of “291” in placing its\npublic in contact with the principal\nachievements of modern art has not had\nas its objective to amuse, but to further\nthe progress of both the artist and the\ncommunity through a commerce of ideas.\nWhen “291” thought that its public had\nbeen introduced to the most important\nproductions of modern art, it put the public\non exhibition. And the contribution of the\npublic consisted of making Miss Beckett\nand Miss Rhoades realize the communal\nvalue of their work."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c010", "article_bluemountain": "bmtnaao_1915-03_01#c010", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.10", "titre_corps": "SATIRISM AND SATYRISM", "titre_sommaire": "SATIRISM AND SATYRISM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "debut_caractere": 4011, "fin_caractere_exclue": 4366, "texte": "SATIRISM AND SATYRISM:\nIt is to be lamented that the editors\nof the satirical papers of New York did\nnot get for their publications the drawings\nof Pascin exhibited at the Berlin Photo-\ngraphic Galleries. Perhaps by giving\nthem a wide publicity other artists might\nhave followed in his footsteps and a true\nrecord of New York life would have been\nstarted."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c011", "article_bluemountain": "bmtnaao_1915-03_01#c011", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.11", "titre_corps": "MATISSE AND NEW YORK", "titre_sommaire": "MATISSE AND NEW YORK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "debut_caractere": 4368, "fin_caractere_exclue": 4660, "texte": "MATISSE AND NEW YORK:\nMontross sold almost all his Matisses\nbut he says the masses only laughed at\nStieglitz has had two exhibitions of\nMatisse’s work and he also says “The\nMasses laughed.” And he adds that\nMasses = M asses = 1000 asses.\nOther sociologists have asserted “Vox\npopuli vox Dei.”"}]}, {"article_id": "bm-bmtnaao-1915-03-01-c012", "article_bluemountain": "bmtnaao_1915-03_01#c012", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.12", "titre_corps": "IDIOTISM", "titre_sommaire": "IDIOTISM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "debut_caractere": 4662, "fin_caractere_exclue": 5360, "texte": "IDIOTISM:\nN. Y. Herald, March 1, 1915.\n“JUST ORDINARY NEW ART.\"\nJohn Marin, one of the first of American\nextremists, is showing forty-seven of his\nworks in the Photo-Secession Gallery,\nNo. 291 Fifth Avenue. Some of them are\ndisjointed dabs of pure color on white\nground, designed to be suggestions of\nlandscapes, and some are views of sky-\nscrapers, their sides bent in impossible\ndirections and their skies apparently full\nof the suspended debris of dynamite\nexplosions.\nThe exhibition makes good for the new\nart cult, but only the initiated and the\nfaithful can get anything out of it except\na bored feeling. This style of art is now\nabout the most common thing in the world.\nIts novelty is gone."}]}, {"article_id": "bm-bmtnaao-1915-03-01-c013", "article_bluemountain": "bmtnaao_1915-03_01#c013", "volume": "bmtnaao_1915-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "6", "image_debut": 6, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.2.13", "titre_corps": "What is rotten in the state of Denmark?", "titre_sommaire": "What is rotten in the state of Denmark?", "signature_source": "Steichen", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 48, "texte": "What is rotten in the state of Denmark?\nSteichen"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.1", "texte": "291 throws\nback its forelock.\nM. de Zayas\n\nMl\nNo. 1 10 cts. March 1915"}, {"page_pdf": 2, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.2", "texte": "HOW VERSUS WHY\nAGNES ERNST MEYER\nThe best one can say of American art criticism is that its CLEVERNESS\nOFTEN CONCEALS ITS LACK OF PENETRATION. But no doubt a large\npart of the public would rather have Mr. Huneker as he is than not have\nhim at all. The amusing has some justification, if only to meet the needs\nof that baneful American influence the tired business man.\nOften—much more often alas—art criticism as it is published in our\njournals is nothing but the most unintelligent twaddle. Unfortunately it\nis not as harmless as it is silly for the written word subtly influences even\nthe wary, especially if it is printed in a publication of standing and most\npeople are perfectly willing to think about art in the terms of their favorite\nnewspaper.\nBe it clever or be it silly, one thing can be said of all our art criticism\nto-day: IT IS OBSOLETE. It measures a new product with old standards\nand is therefore insidiously pernicious for it clouds the issues and often\nbefogs the mind of the public before the work of art has been able to make\nits own appeal. When it is too frank to use its antiquated wisdom, it sub-\nstitutes a jest.\nART HAS ALWAYS PROGRESSED AS THOUGHT HAS PROGRESSED, the most\nrevolutionary changes having taken place within the last fifty years as a\nnatural pace-keeping with the tremendous development of thought. But\nAmerican criticism has again demonstrated that our best brains are devoted\nto production and not to pure thought for criticism in its methods has lagged\nlamentably behind the product it presumes to estimate. The scientific\ninfluence has at last invaded the field of art but its critics still wander\nblissfully in the land of romance.\nI must explain what I mean by the SCIENTIFIC INFLUENCE IN ART\nfor I know that the critics whom you respect the most, such as Mr. Ruskin\nand Mr. Berenson, do not believe in an evolution of art. Ruskin says quite\ndefinitely: “Art must remain what it was two thousand years ago in the age of Phidias.\"\nBut hear him in the very next paragraph: “For a long time the function of art\nwas a religious one. That function has now passed away and none has taken its place.\nThe painter has no profession, no purpose. He is an idler on the earth, chasing the shadows\nof his own fancies.” And in an effort to give this useless person some raison\nd’etre Ruskin thinks he ought to devote himself to “recording objects of his-\ntorical interest or beauty existing in his period.\" But we all know that since\nRuskin’s day the photographer has learned to fulfill this mission much\nbetter than any painter could. Consequently Mr. Ruskin says that art\nwill always be the same, that it has already undergone several changes, and\nthe slight function which he still attributes to his contemporaries in art\nhas already been taken away from ours. According to the theories of our\ngreatest critic art should have been dead long ago.\nBUT ART IS NOT DEAD! It has not only outlived Mr. Ruskin but will\ncontinue to outlive all others who prophesy its end by defining its limita-\ntions. Having gone through the religious, and what might, broadly speak-\ning, be termed the photographic era, it began to feel the influence of the\nreasoning and scientific era. The natural result was a constantly increasing\nemphasis of the new element until we get in Cezanne, Matisse, Picasso a\nPERFECTLY CONNECTED CHAIN FROM APPLIED TO PURE REASON. This\ndoes not by any means signify that the emotional side of art is eliminated.\nOn the contrary, just as no scientific discovery was ever made without an\na priori idea as its point of departure, so no convincing modern work of art\nno matter how thoroughly reasoned it may be, can come into existence\nwithout an emotion as its basis. We have then a PERFECTLY CLEAR DE-\nVELOPMENT OF THE aesthetic EMOTION over which reason has as-\nsumed so increasing a domination that many of its latest products are\nhighly scientific in origin, thus reflecting faithfully man’s progress in mental\ndevelopment.\nWhat is more logical than to demand that SCIENCE IN CRITICISM\nMUST MEET SCIENCE IN ART? The critics’ reply naturally would be:\n“What do you mean by scientific criticism?’’ I can give the clearest answer to\nthis question by turning to pure science for an illustration. When a scientist\nasserts that H2o= water, he means that a certain quantity of hydrogen and\na certain quantity of oxygen will produce water. He knows HOW water\ncan be made, he does not know WHY. He knows moreover that he can\nnot know WHY, that all the “WHYS” of life belong to another realm than\nhis, namely, that of philosophy. In other words HOW a thing came into\nexistence is usually analysable, WHY it came into existence is invariably\na mystery. The WHY of art is its emotional, the HOW its reasoned ele-\nment. Through all the ages art criticism has quite naturally occupied itself\nwith the WHY of art, with its emotional side, this until now having been\nits main precipitant. “291” realizing that conditions were changing and\nthat the element of reason was assuming as important, if not more important\na role than the emotional element, has resolutely devoted its energy to\nexplaining the “HOW” of art, content to let the romanticists continue\ntheir vague struggle as long as the battle with windmills and the EXPLANA-\nTION OF THEIR OWN PERSONALITIES might amuse them.\nRecognizing that absolute knowledge is possible in no field of human\nendeavor and that reason in serving as a corrective to the emotions by no\nmeans does away with them, we have deemed it of infinitely greater value\nto STRIVE FOR THE KNOW ABLE than to join the ranks of those who\ncontinue to seek the unknowable. In other words we maintain that\nSCIENTIFIC CRITICISM IS POSSIBLE. Science is nothing but a systema-\ntizing of the knowable and we insist that this is just as possible in art as\nin any other field of phenomena. Our first attempts may be just as crude\nas all first attempts along scientific lines, but we are convinced that the\ndirection being right and in accord with modern needs, our method of judg-\ning modern works of art is temporarily at least the only one that can have\nresults of any value. At the same time we do not presume to establish\npermanent dogmatic rules for criticism. On the contrary, just as the\nscientist must change his ideas as science progresses so we shall be ready\nto give up all theories of “Scientific” criticism as soon as art changes its\nrole in our lives and begins to interpret a different mental state.\nWHAT CONSTITUTES A SCIENTIFIC CRITICISM? In what manner can\nthe “HOW” and the “WHY” of art, the knowable and the unknowable\nelements be distinguished? Once it is granted that there is such a thing\nas an evolution in art, immediately two points of view are established from\nwhich all works of art must be judged, first from the point of view of the\nproducer, and secondly from the point of view of the evolutional develop-\nment. Under the first aspect we must determine what the artist wishes to\nexpress and how adequately he succeeds in that expression; under the\nsecond aspect we must decide upon the value of that expression as an\naddition to what has already been said. Criticism of modern art must\nanalyze the thought-process of the artist’s mind, the way in which he\nthinks, how adequately he translates his thoughts into the symbols of his\ntrade and what his relationship is to his fellow artists. IT MUST DETERMINE\nTHE VALUE OF THE ARTIST’S CONCEPTION PER SE AND ALSO ITS VALUE\nIN THE EVOLUTIONAL CHAIN.\nSuch a point of view inevitably does away with the old emotional\nattitude of “Why I like it and why I don’t.’’ Likes and dislikes are completely\nswept aside by the scientific critic not as unimportant but because he will\nnot permit the intrusion of mere personal bias in view of the fact that\nmodern psychology has made it impossible for him to believe in objective\nbeauty in art. Since it is extremely unlikely that any two persons get the\nsame impression of the commonest article of daily use, how can they\npossibly get the same emotional reaction from so complex a thing as a\nwork of art? And even if such a thing were thinkable, how can any one\nhope to translate the beauty of painting into the totally unrelated beauty\nof words? The most that the emotional school of critics has ever accom-\nplished, even in its very distinguished exponents, has been the revelation\nof a great and sensitive personality or the creation of literature sometimes\nof rare loveliness, sometimes of deep moral and philosophic import. This\nmay be infinitely more valuable than a COLD DISSECTION OF AN ARTISTIC\nMENTALITY and a weighing of its relative worth in the onward march of\nhuman development, but the latter method has the advantage of sticking\nto the business at hand, of accomplishing a well defined task, of understand-\ning and frankly admitting its limitations, thereby rendering the double\nservice of helping where help can be given and then pointing out the\nregions where all who enter must win each his own salvation.\nWith so impersonal and reasoned a basis for his criticisms the modern\ncritic has every right to assume a constructive attitude towards art and\nWORK consciously to help build up the future. I personally be-\nlieve that we are at present in what may be called the SCHOLASTIC PERIOD\nOF ART. I believe that exactly the same thing has happened in the\naesthetically emotional world of to-day that happened to thought in the\nmiddle ages when reason, rediscovered, took the religiously emotional\nworld by storm. The result now as in the age of scholasticism is a PERIOD\nOF SYSTEMS, impressionism, cubism, futurism, what you will, but such a\nstate of things can be helped or combated, the point of view matters little,\nonly by a constructive or destructive analysis along the lines indicated\nand not by uncritical admiration or unintelligent abuse. The human mind\nhas had three stages of development, the emotional, the rational and the\nexperimental. Art has arrived at the rational stage, the overrational stage\nperhaps, but the critic must go one step further and BECOME AN EXPERI-\nMENTALIST for an impersonal consideration of all the products of scholas-\nticism is the only method by which its spell can be broken, the only way\nin which its artificial products can be discovered and eliminated and its\ntruth pointed out and retained. HE MUST WELCOME ALL THE NEW\nSYSTEMS in turn no matter how mad they may seem, but after a careful\nanalysis of each, he should state with adequate reasons just what has been\naccomplished and what has not or cannot be done. With such an attitude\nthe critic will have as clearly defined a right to carry his EXPERIMENTALLY\nOBTAINED DEDUCTIONS into the future as has the scientist who, having\nconfirmed the working of a law after observing sufficiently great a number\nof phenomena, gains the world’s acceptance of his discovery until new\nphenomena prove him to be wrong. And let us hope that experiment in\nart as in science will tend to throw all systems overboard leaving the artist\nfree once more to find his own truths with an untrammeled mind. Who\nknows, with such intelligent cooperation on the part of the critic, art may\neven discover, not its future, but at least its present limitations which now\nit certainly does not know. Literary painting, musical color and form\ninterpretations, mathematical and fourth-dimensional somersaults may\nall be relegated to the scrap heap but from it would arise a new art that\nwould be NOT THE PRODUCT OF FOREIGN LAWS BUT A LAW UNTO ITSELF."}, {"page_pdf": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.3", "texte": "VOYAGE\nA Mile Paula Valmont\nIdeogramme\nGuillaume Apollinaire\n\nONE HOUR’S SLEEP\nTHREE DREAMS\nAlfred Stieglitz\nI.\nI was to be buried. The whole family stood\nabout. Also hundreds of friends. My wish\nwas carried out. Not a word was uttered.\nThere was not a single tear. All was silence\nand all seemed blackness. A door opened and\na woman came in. As the woman came in I\nstood up; my eyes opened. But I was dead.\nAll screamed and rushed away. There was a\ngeneral panic. Some jumped out of the windows.\nOnly the Woman remained. Her gaze was\nfixed upon me. Eye to Eye. She said: “Friend\nare you really dead?” The voice was firm and\nclear. No answer. The Woman asked three\ntimes. No answer. As she asked the third\ntime I returned to my original position and was\nready to be buried. I heard one great\nsob. I awoke.\n11.\nI was very ill and everyone asked me to take\na rest. No one succeeded to induce me.\nFinally a Woman said: “I will go with you. Will\nyou go?” We went. We tramped together day\nand night. In the mountains. Over snow. In\nthe moonlight. In the glaring sun. We had no\nfood. Not a word was said. The Woman grew\npaler and paler as the days and nights passed by.\nShe could hardly walk. I helped her. And still\nnot a word was uttered. Finally the Woman\ncollapsed and she said, in a voice hardly audible:\n“Food—Food—I must have food.” And I\nanswered: “Food—Food—, Child, we are in a\nworld where there is no Food—just Spirit—\nWill.”—And the Woman looked piteously at me\nand said, half dead: “Food—Food” and I\nkissed the Woman, and as I did that there stood\nbefore the Woman all sorts of wonderful food—\non a simple wooden table, and it was Springtime.\nAnd as the Woman began to eat ravenously—\nconscious of nothing but Nature’s Cry for Food,\nI slipped away. And I continued walking On-\nward. I heard a distant cry. I awoke.\n111.\nThe Woman and I were alone in a room. She\ntold me a Love Story. I knew it was her own.\nI understood why she could not love me. And\nas the Woman told me the story—she suddenly\nbecame mad—she kissed me in her ravings—\nshe tore her clothes and mine—she tore her\nhair. Her eyes were wild—and nearly blank.\nI saw them looking into mine. She kissed me\npassionately and cried: “Why are you not HE?”\n“Why not?” And I tried to calm her. But did\nnot succeed. And finally she cried: “What\nmakes me kiss you—it is He I want, not you.\nAnd yet I kissed you. Kissed you as if it were\nHe.”—I didn’t dare to move. It was not fear\nthat made me stand still. It was all much too\nterrible for Fear. I stood there spell-bound.\nSuddenly the woman moved away—it was\nghastly. Her look. Her eyes. The Woman\nstood immovable, her eyes glued on mine; when\nsuddenly she screeched: “Tell me you are He\n—tell me—you are He. And if you are not He\nI will kill you. For I kissed you.” I stood there\nand calmly said, what I really did not want to\nsay, for I knew the Woman was irresponsible\nand mad. I said, “I am not He.” And as I said\nthat the Woman took a knife from the folds of\nher dress and rushed at me. She struck the\nheart. The blood spurted straight ahead, as\nif it had been waiting for an outlet. And as the\nWoman saw the blood and saw me drop dead\nshe became perfectly sane. She stood motion-\nless. With no expression. She turned around.\nUpon the immaculate white wall she saw written\nin Blood Red letters: “He killed himself. He\nunderstood the kisses.” There was a scream.\nI awoke."}, {"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.4", "texte": "Paul B. Haviland\nProfessor What I wonder at, is why you did not tell the world what 291 is.\n291 I wanted the other people to tell me.\nProf. Have they done so ?\n291 Each one of the sixty odd contributors has said what 291 was to him; the sum total of what it is to\neach individual makes up the spirit of 291.\nProf. Very well, they have given you the spirit of 291 but they have not told you what definite thing 291\nrepresents.\n291 It represents nothing definite; it is ever growing, constantly changing and developing.\nProf. And how is it going to develop ?\n291 That, I do not know; nobody knows.\nProf. But somebody should know; somebody should at least know what it should accomplish. If 291 is\nnothing definite but only a spirit, how can it do its work? We know now, what the spirit of 291 is,\nas nearly as a spirit can be known. What we should know for the future is 291 the machine which\nwill provide the channels through which this wonderful spirit can accomplish useful work.\n291 That will come of itself, in the course of events.\nProf. Precisely; but there is a logical sequence in the course of events. The past history of 291 shows\nit. . . You started with a fight for photography; you wanted your problem answered; “What is\nphotography ?”; you got the photographers together, you held exhibitions, you published repro-\nductions of meritorious work; writers came who wrote about photography and out of all these\nefforts came an answer. We all know now what photography is, what it can accomplish; we have\nstandards by which we can judge new work. What was 291 while all this was going on ?\n291 Nothing but a laboratory, a place for experiments.\nProf. And is it not still a laboratory, only with new problems to solve?\n291 That is what it is.\nProf. And what is the object of a laboratory ?\n291 To experiment.\nProf. And what do experiments lead to ?\n291 To finding out.\nProf. Now, at last, we have a definition of what 291 is; a laboratory where experiments are conducted\nin order to find out something. Now, the inevitable sequence which man follows in experimental\nscience is:\nIst. To establish facts or phenomena by observation and experimentation.\n2d. To arrive through induction from these facts or phenomena to their general relationship or laws.\n3d. To start from these laws to arrive by logical deductive reasoning to the discovery of other facts\nwhich may in turn be included in the general law.\nNow, I have noticed of late that you, 291, have been, so to speak, marking time. You are waiting\nfor the “WHAT NEXT?” For me, who have been watching you closely for many years the\n“WHAT NEXT?” is clear. You are at the end of your first period; you have gathered your\ndata, you have made your observations. You are about to enter your second period in which you\nwill arrive at the laws which govern the phenomena you have observed. This may be a long\nperiod, for new data will constantly be coming up which may cause you to modify or abandon the\ntheories you will evolve before you strike the answer that will satisfy you. That must be your next\nstep if all your experimenting is not to remain sterile, and when that is done, then we will talk\nabout the last period.\n291 But laws are the very things I have been fighting against all my life.\nProf. Let us not quarrel about words. You have been fighting against FIXED laws which impede prog-\nress and development. The laws I mean are but our conception of the relationship of phenomena\nwhich we use as guides in making new discoveries. That, I believe is what you have always sought\nto discover. If 291 sees clearly the path which is traced for it, great things may be expected from\nit for its preliminary work has been well done.\nW' hen I arrived at 291 the Spirit of 291 was manifesting itself at its best; 291 himself was at the height of an\nanimated discussion with the Professor.\n291 is a trinity; a place, a person and a symbol, so be not surprised if I refer without transition to its separate\nentities."}, {"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.5", "texte": "Oil and Vinegar Caster\nPicasso\n\nSIMULTANISM:\nThe idea of Simultanism is expressed\nin painting by the simultaneous repre-\nsentation of the different figures of a form\nseen from different points of view, as\nPicasso and Braque did some time ago;\nor by the simultaneous representation of\nthe figure of several forms as the futurists\nIn literature the idea is expressed by the\npolyphony of simultaneous voices which\nsay different things. Of course, printing\nis not an adequate medium, for succession\nin this medium is unavoidable and a\nphonograph is more suitable.\nThat the idea of simultanism is essen-\ntially naturalistic is obvious; that the\npolyphony of interwoven sounds and\nmeanings has a decided effect upon our\nsenses is unquestionable, and that we can\nget at the spirit of things through this\nsystem is demonstrable.\nEXAMPLE:\nAt the Arden Gallery, 599 Fifth Avenue\n“OH, COME ON, LET’S GO TO\nMAILLARDS.”\n“I SAT NEXT REV. AT GLADYS’\nLUNCHEON.”\n“NOBODY COULD LOOK HUMAN\nIN THESE FULL SKIRTS.”\n“DO YOU THINK HER HUSBAND\nKNOWS IT?”\n“SHE SAYS SHE’S A NEUTRAL\nBUT ”\n“WHY DON’T THEY SERVE TEA\nHERE?”\n{All these phrases must be uttered\nsimultaneously.)\nN. B. The object of the Arden Gallery,\nopened recently, is to encourage the Arts\nand Crafts in New York. Paintings,\nsculptures, furniture, tapestries and tex-\ntiles from the seventh to the seventeenth\ncentury are on exhibition.\n\nSINCERISM:\nJust before the war a new tendency in\nart was initiated in Paris by the Italian\nmusician Albert Savinio. He called it\n“Sincerism.” Most of the music of\nSavinio is based essentially on music,\nhis source of inspiration is music, music\nthat has been written, and music that he\nhears. Instead of trying to translate life\ninto music, he translates music into music.\nThe sincerism consists in frankly ac-\nknowledging the musical motives which\nserved as points of departure of his own\ncompositions.\nNothing more natural for an artist than\nto have for his objectivity the art that he\npractices. Mr. Max Weber finds him-\nself in this position.\nNo painter in America, that I know of,\nhas a deeper knowledge of technique and\ngreater skill in the metier than Mr. Max\nWeber. Possibly this is the reason why\nhe has made painting his objectivity.\nThe exhibition of his pictures in the\nPrint Gallery showed how remarkable\nMr. Weber can develop and carry to a\ngreater degree both of intention and\ntechnique the paintings of many of the\nmodern masters.\nFor the superficial critic this attitude\nis a crime. For any one who knows the\nmechanism of Art, what Mr. Weber has\naccomplishedjs of great merit.\nI sincerely believe that Mr. Weber is\nthe man to found the school of “Sincer-\nism” in New York.\n\nUNILATERALS:\nThe unilaterals in art matters were\nvery much perplexed to see that in the\nGalleries of “291” there were on exhibi-\ntion paintings of a naturalistic character\nfollowing the exhibitions of negro savage\nart, of the paintings by Picasso and Braque\nand of Picabia. They thought that the\nsanctuary of the mystery of abstract art\nwas profanated by the work of Miss\nBeckett and Miss Rhoades which cer-\ntainly has no mystery, and they saw no\nproblem where there really is a great one:\nthe development of the individual by the\naction of his work on the public.\nThe public of “291” has been accus-\ntomed to receive and never before has\nbeen asked to give. It has taken for\ngranted that we owed it all our efforts to\npresent to New York the principal tenta-\ntives of modern art for its own amuse-\nment, merely as a form of social function.\nNo, the efforts of “291” in placing its\npublic in contact with the principal\nachievements of modern art has not had\nas its objective to amuse, but to further\nthe progress of both the artist and the\ncommunity through a commerce of ideas.\nWhen “291” thought that its public had\nbeen introduced to the most important\nproductions of modern art, it put the public\non exhibition. And the contribution of the\npublic consisted of making Miss Beckett\nand Miss Rhoades realize the communal\nvalue of their work.\n\nSATIRISM AND SATYRISM:\nIt is to be lamented that the editors\nof the satirical papers of New York did\nnot get for their publications the drawings\nof Pascin exhibited at the Berlin Photo-\ngraphic Galleries. Perhaps by giving\nthem a wide publicity other artists might\nhave followed in his footsteps and a true\nrecord of New York life would have been\nstarted.\n\nMATISSE AND NEW YORK:\nMontross sold almost all his Matisses\nbut he says the masses only laughed at\nStieglitz has had two exhibitions of\nMatisse’s work and he also says “The\nMasses laughed.” And he adds that\nMasses = M asses = 1000 asses.\nOther sociologists have asserted “Vox\npopuli vox Dei.”\n\nIDIOTISM:\nN. Y. Herald, March 1, 1915.\n“JUST ORDINARY NEW ART.\"\nJohn Marin, one of the first of American\nextremists, is showing forty-seven of his\nworks in the Photo-Secession Gallery,\nNo. 291 Fifth Avenue. Some of them are\ndisjointed dabs of pure color on white\nground, designed to be suggestions of\nlandscapes, and some are views of sky-\nscrapers, their sides bent in impossible\ndirections and their skies apparently full\nof the suspended debris of dynamite\nexplosions.\nThe exhibition makes good for the new\nart cult, but only the initiated and the\nfaithful can get anything out of it except\na bored feeling. This style of art is now\nabout the most common thing in the world.\nIts novelty is gone.\n\nPUBLISHED TWELVE TIMES A YEAR.—Twelve numbers ONE DOLLAR.— Special edition limited to one hun-\ndred autographed copies on special paper.— Twelve numbers FIVE DOLLARS.—Single copies ONE DOLLAR.\nH Published by “291”, 291 Fifth Avenue, New York, N.Y.—MAKE ALL REMITTANCES TO PAUL B. HAVILAND."}, {"page_pdf": 6, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191503-01.1.6", "texte": "What is rotten in the state of Denmark?\nSteichen"}]}