Cubists and Post-Impressionism
I
A SENSATION
SINCE the exhibit at the Columbian Exposition (1893) nothing has happened in the world of American art so stimulating as the recent INTERNATIONAL EXHIBITION OF MODERN ART. New York and Chicago, spring of 1913.[1]
“Stimulating” is the word, for while the recent exhibition may have lacked some of the good, solidly painted pictures found in the earlier, it contained so much that was fresh, new, original—eccentric, if you prefer—that it gave our art-world food for thought—and heated controversy.
Art thrives on controversy—like every human endeavor. The fiercer the controversy the surer, the sounder, the saner the outcome.
Perfection is unattainable. As man in his loftiest flight stretches forth his hand to seize a star he drops back to earth. The finer, the purer the development of any art the more certain the reaction, the return to elemental conditions—to begin over again.
The young sculptor looks at the chaste perfection of Greek sculpture and says, “What is the use? I will do something different.” The young painter looks at the great painters of yesterday and exclaims, “What is the use? I cannot excel them in their way; I must do something in my own way.” It is the same in business; the young merchant studies the methods of the successful men in his line and says, “It is idle for me to copy their methods. I will do something different, something in my own way,” and he displays his goods differently, advertises differently, conducts his business differently, and if successful is hailed as a genius, if a failure he is regarded as a visionary or an eccentric—the result making all the difference in the world in the verdict of the public.