The new spirit in drama & art . STUDY BYS. F. GORE tti makr a hr 111 to neiilal note or rhythn> Th(? N n, especially in Paris, an tit expressiveness of thi cc! irrow ; am^ th. • iN sul gu ani hu new concf; to con-liicitie. I between the nt in the of t Its ovtier h*. THE NEW SPIRIT IN PAINTING 211 should be. With the New Men truth is the ruling maintain that truth is its own reward. If they seizethe truth of a fundamental conception, their logical methodof treatment will enable them to develop it truthfully and togive it the widest possible expression of truth. If t
The new spirit in drama & art . STUDY BYS. F. GORE tti makr a hr 111 to neiilal note or rhythn> Th(? N n, especially in Paris, an tit expressiveness of thi cc! irrow ; am^ th. • iN sul gu ani hu new concf; to con-liicitie. I between the nt in the of t Its ovtier h*. THE NEW SPIRIT IN PAINTING 211 should be. With the New Men truth is the ruling maintain that truth is its own reward. If they seizethe truth of a fundamental conception, their logical methodof treatment will enable them to develop it truthfully and togive it the widest possible expression of truth. If they seizean untruth, their treatment of it will likewise detect it, andthe result will be untruth. Further, they maintain the subjectrequires nothing beyond this truthful statement, none of theextraordinary adjuncts that the Old Men were accustomedto embody on canvas. Decoration, as we are accustomed tocall it, must be nothing more than the reasonable develop-ment of its character. In fact, their decoration to them is notdecoration, but the truthful expression of character. Thusthe New Men are inclined to regard decoration from the pointof view of the actor. The latter never speaks of regards and refers to everything worn by a human beingin terms of character.
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Keywords: ., bookcentury1900, bookdecade1910, booksubjecttheater, bookyear1912
