. International studio. ach to art. This American Dow, the Swiss Valloton. Orlik portrait is of the Impressionist pi It is a print of Emil Orlik that is in a sense the whereas almost every one of the other illustrations starting point for this article. His portrait of is tinged with Expressionism—if, indeed, some are Ferdinand Hodler will be marked at once among not drowned in it. I realize that a large block ol the illustrations as the most conservative (eigh- readers will find this the best picture ol the teen years ago it looked revolutionary) of all the series; but they will be the ones wh
. International studio. ach to art. This American Dow, the Swiss Valloton. Orlik portrait is of the Impressionist pi It is a print of Emil Orlik that is in a sense the whereas almost every one of the other illustrations starting point for this article. His portrait of is tinged with Expressionism—if, indeed, some are Ferdinand Hodler will be marked at once among not drowned in it. I realize that a large block ol the illustrations as the most conservative (eigh- readers will find this the best picture ol the teen years ago it looked revolutionary) of all the series; but they will be the ones whose minds have prints shown. It combines good draughtsman- been more or less closed for twenty years, who ship, and doubtless fidelity to the subject, with have been so carefully trained to look lor fidelity pleasing composition and a technique that is to nature and technical proficiency that they JUNE 1922 two fifty-one inceFtnAcioriAL &s y±==jfY ^v — w%M y§|^J //jB5ss^tj§^: i i WN8LOI9H PIERRO BY MAX I NOLO. LITERATI BY W. SCHNARRENBERGER cannot forgive the lack of those qualities for thesake of certain other elements which many (andapparently sane) people have concluded of lateyears to be more important in works of any rate, there is my beginning point. Letme jump immediately almost to the other extremeof the illustrations: to Emil Noldes remarkableand expressive print, The Prophet. Noldes work seems at first to be carelessbeyond words; but on final analysis his loosenessof handling is likely to prove less a matter of care-lessness than a part of a well-grounded techniqueof directness. The lover of wood engraving ofanother sort is likely to be caught off his guard bysuch a print, and to exclaim, Oh, / could makean engraving like that, or That is the sort ofthing one does by accident. In the first place it has (as it seems to me, atleast) an emotional depth, a quality beyond thesurface, which I take to be the chief thing that theExpressionists are after. But per
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