International studio . royKinney is as agile and dexterous with hishands as they are with their feet. But behind hands and feet is a soul, agenius, a creative power. If dancer andetcher did not both appreciate this, they couldnot act and react upon each other in artisticexpression. Pavlowa would often rehearsefor Kinney a certain gesture or movement, acertain creation of spot \\v\ line;—she would repeat her words, so to s])cak, thai lie mightget the proper accents and ihc exact inflec-tions. That is how these Ijrilliant etchingswere conceived. That is the tnst sage intheir making. Troy Kinney
International studio . royKinney is as agile and dexterous with hishands as they are with their feet. But behind hands and feet is a soul, agenius, a creative power. If dancer andetcher did not both appreciate this, they couldnot act and react upon each other in artisticexpression. Pavlowa would often rehearsefor Kinney a certain gesture or movement, acertain creation of spot \\v\ line;—she would repeat her words, so to s])cak, thai lie mightget the proper accents and ihc exact inflec-tions. That is how these Ijrilliant etchingswere conceived. That is the tnst sage intheir making. Troy Kinney never works in a liajihazard orcasual manner. He is painstaking and delib-erate. He accepts the mood, but goes beyondit for the fundamental law. He is impeccablyclassic in his compositions, for they arebased upon the Greek design, following theorganic development in nature as in the forma-tion of a crystal or the cellular growth inplants. By observing the area of proportion,he achieves dynamic, symmetry. Dividing his. KOSIIAN.^RA IKDV The Etchings of Troy Kinney plan into rectangular sections, he draws hispicture, sometimes in sections also, and makesit fit into the design. But he does not losesight of the poetic motive in thus building theparts into a harmonious whole. On the faceof it, this method of composition does notseem flexible enough for artistic creation. Itis too scientific, one would say, to be alwaysconducive of freedom of treatment. It islike making first the mould and then makingyour creation fit into it. But this is onlysuperficially true. In the hands of an artist of talent, a scien-tific formula can be made to yield to the domi-nant feeling, even to the,teasing and torment-ing fancy. Plainly speaking, the angles giveway to flexible, relaxing and accentuatinglines; and in the classic areas of proportion isample latitude for personal expression. It istrue, however, that, in the hands of an artistof no talent, the geometric conception in com-position al
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