. International studio. f centuries ago. Forin this period he was paintinglandscapes — classic, epic -of the redwoods of California,the peaks of the Sierras, or theploughed hills of our own NewYork State. Far reaches ofrolling hill or winding rivermay appear in these land-scapes, but before you travelinto the distance, some fact istruly presented, strong, imper-sonal, as it came to him, to betransmitted to us, who havenot time to see. Long ago the artist paintedpanoramas, or more exactlycycloramas. You will recallthem. In the process, Daviestells me, a young painter oneday felt that his effort
. International studio. f centuries ago. Forin this period he was paintinglandscapes — classic, epic -of the redwoods of California,the peaks of the Sierras, or theploughed hills of our own NewYork State. Far reaches ofrolling hill or winding rivermay appear in these land-scapes, but before you travelinto the distance, some fact istruly presented, strong, imper-sonal, as it came to him, to betransmitted to us, who havenot time to see. Long ago the artist paintedpanoramas, or more exactlycycloramas. You will recallthem. In the process, Daviestells me, a young painter oneday felt that his effort was dull,and rushing out he broughtback earth and grass and rocksand exclaimed: See, thevalues are quite perfect,but give me a pot of white paint, and we willhave some high lights. The effect was tremen-dous. So, why shall we challenge the way it The result is what counts. Davies tells me there is great need of artcriticism. So much of it is like Spencerian pen-manship, perfectly and beautifully regular. The. HORIZON OF THE TERRACES crjt|cs |abor UIK|er t|K> BY ARTHUR B. DAVIES delusion that they arethe public; they look for no feeling, but keep onrefining their outlook until they have no ecstasyin their joints, no surprises in their blood. On theother hand, I recall WILD HE-GOAT DAN< 1 meeting Davies on Filth by arthlr b. da\ n s
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