. International studio. three t wen 1 y-six 1922 ?.nceRiiActonAL scroti© to reject all Formulas,which in my mind end Inobscuring and letteringart instead of emanci-pating it. I do not believethat one gives a specialproof of modernity becausehe paints aeroplanes orspectacles borrowed fromthe automobile. In a fewdozen years our aeroplanesand our elevators will besingularly obsolete, and thedanger in this realm is inreconstituting a bric-a-bracof the twentieth century asthere was a bric-a-bracromantic, naturalistic, sym-bolic. Cezanne was modernand discovered pictorialverities with provincialappl
. International studio. three t wen 1 y-six 1922 ?.nceRiiActonAL scroti© to reject all Formulas,which in my mind end Inobscuring and letteringart instead of emanci-pating it. I do not believethat one gives a specialproof of modernity becausehe paints aeroplanes orspectacles borrowed fromthe automobile. In a fewdozen years our aeroplanesand our elevators will besingularly obsolete, and thedanger in this realm is inreconstituting a bric-a-bracof the twentieth century asthere was a bric-a-bracromantic, naturalistic, sym-bolic. Cezanne was modernand discovered pictorialverities with provincialapples and preserve all the current formulas is expression,and we should sacrifice everything to it,and attain it if necessary by the minimum ofmeans. The future is not in the applicationof this formula of yesterday or of that ofday after tomorrow, as so many of our youngbeginners believe, but in incessant effort guidedby the need to express. I am an enemy of alleccentricities, which too often hide the common-. LA CHARMILLEBY JEAN MARCHAND place and the trivial andwhich have been too easilyconfounded with true originality. Renoir good painting doesnt have to be hung epigram is a terrible accusation of certaintendencies of today. . Far from arrestingthe (light of painting toward enchantingtomorrows, I believe that only in this way shall wedraw it back from commercialism. arte July Cover, by a Painter of Uutti Breezy Day, by Richard Miller, whichappears on the cover this month, is representativeof a subject which the artist has made particularlyhis own. Outdoor pictures, full of light and finecolor, are his special province. One of his favoritethemes is a sunlit verandah with the warm lightfiltering through a screen, as in The Sun Porch,reproduced on page 344, which had the signalhonor of being purchased for the permanent col-lection of the Carnegie Institute from its lastInternational Exhibition. Mr. Millers pictures are not simply figurepaintings with
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