;PAGE FOURh
T HE MICHIGAN DAILY
F .TUESDAY, JANUARY 13, 1931.
. . ... ..... . . . . ... .... .. -- ............... . ... . ......
TUESDAY, JANUARY 13, 1931
Published every morning except Monday
during the University year by the Board in
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4 ~MANAGING EDITOR
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Joroth~y Laylin
TUESDAY, JANUARY 13, 1931
Night Editor-Harold 0. Warren
AIRING THE SENATE'S
DIRTY LINEN.
The senate had its fingers burned
last week for playing with fire, and
it found, out that the President is
not going to allow the country to
be altogether run by the Upper
louse of the Congress, which, in
this era of depression, is at least
one thing to be thankful for. In
declining to return the nominations
of three members of the powerl
commission, already approved and
confirmed by the senate, Mr. Hoover
intimated to the solons that he was
tired of their wailing and political
antics, and that the time had come
for constructive action on their
him to think that the nominees
are not worthyhoracapable of serv-
ing in office shows rather poor
judgment. As for senator Dill's
statement that the President is too
much in favor of the power trust,
he might have brought up that
question when the nominations
were first voted on, instead of dis-
covering the President's attitude
because of subsequent events which
it is rather hard to connect with
the case of capitalism versus labor.
We note with pleasure, much as
one would rejoice on finding an
oasis in a desert, that one of Mich-
igan's senators, Arthur Vanden-
burg, voted against the motion to
send the request to the President,
and against that putting the names
back on the Senate calendar. Mich-
igan's multi-millionaire anti-capi-
talist Couzen's name failed to ap-
pear on the roll call.
One might sum up the situation
in President Hoover's own words:
"I regret that the g o v e r n m e n t
should be absorbed upon such
questions as the action of the pow-
er commission in employment or
non-employment of two subordi-
nate officials at a time when the
condition of the country requires
every constructive energy."
Campus Opinion
Contributors are asked to be brief,
Conining themiselcs to less tha. 300
wors if posile. Anonymous eom-
ninnicationis will h disregarded. The
names of communicats will, however,
be regardled as confidential, upon re-
qu~est. G ett ers publshed should not be
construed as expressing the editorial
opinion of The Daily.
To the Editor:
It is often most difficult to recon-
cile facts with theory. If the facts
disprove the theory we should dis-
card the theory. But if the facts do
not agree with the theory, the case
is an exceptional one. A third solu-
tion of the difficulty may be that
the facts are false. None of these
suggestions seems to solve our prob-
lem as we scan President Ruthven's
speech given before the Exchange
club last Monday.
We find it hard, knowing the
facts about the life in the larger
colleges, to associate them with the
theory which President Ruthven
put forth. The outstanding state-
ments supporting his theory which
are worthy of notice were the fol-
lowing: "It will be better, both for
the student and society, to measure
and develop the capabilities of the
youth in conditions approximating
those in which he will later find
himself . . . The best training for
life is actual living, and the college
should place the student in an en-
vironment approximating the one
he will enter when he leaves col-
lege. In the small institutions the
student may . . . become the victim
of over-attention and suffer a cor-
responding loss in initiative and
self reliance, qualities essential to
successful living,"
Since the President was defend-
ing the large university against
critics, one may safely assume that
he was referring to our own insti-
tution when he made the above
statements. We gather from them
then, that smaller colleges are not
'Msic an
TWO EXHIBITIONS.
The galleries of Alumni Memorial
Hall contain at present two exhibits
of exceeding interest: the one ai
selection from last year's Chicago
Art Institute Exhibition of contem-(
porary American Art sponsored by(
the Ann Arbor Art Association; andt
the other an exhibition of con-s
temporary prints sponsored by the
fine arts department of the Univer-
sity through the courtesy of the
College Art Association.
The group of oils, as a selectiont
from one of the three large andt
fairly representative national shows,
should mean a fairly sound glance
at the quality of contemporary
American art. Actually, I think onei
should avoid looking on this ex-
hibition in this light. There arei
none of the first names in Ameri-
can art here. And, in addition, the1
prevalence of the mediocre and the
almost dearth of something out-
standing is too striking to be typi-
cal. To be hopeful about American
art, one should label last year a bad
year at the Chicago Institute or the
Ann Arbor show a bad selection.
The quality of the two canvasses
with the label of awards is about
the quality of the, exhibition. The
one, "American Gothic" by Grant
Wood, which won one of the large
awards, is a quite undistinguished
and somewhat strained comment
on American life in the manner of
a more popular magazine illustra-
tor, with the only quality of vision
involved an easy fidelity to recog-
nizable American types (farmer,
farmer's wife, and farmer's home)
which may imply in the artist any-
thing from admiration for their
steadfastness and security to dis-
taste for their prim, stupid rigidity
(I don't see how one can tell which
from this canvas). Only m o r e
subtlety in the execution (the can-
vas has the thin, smooth, dull, un-
interesting quality of a magazine
cover) could have made this con-
ception anything but a triviality.
The other prize-winner w a s
"Snow" by Francis Speight-not at
all a bad oil but thoroughly recog-
nizable as belonging to a tradition
of American realism, more or less
inclusive in subject matter and al-
ways thickly painted, which is dat-
ed by at least a generation. Be-
longing with this picture is "Ellers-
ville" by Walter Emerson Baum, an
incompetent pupil of Redfield, who
lacks his master's brilliant execu-
tion as compensation for his "ar-
chaism."
To go to what will probably be a
more popular picture . . . Gifford
Beal's "Launching the Boat" seems
to be entirely disinterested in the
detail of his composition . . . the
mere amount of space that is wast-
ed in the facile concentration on a
successful, obvious rhythmic effect
is shocking . . . there is no reason
for oil as the medium if there is no
more interest in painting than is
apparent here . . . this is not re-
straint . .. at least not admirable
restraint . . . admirable restraint
perhaps being thought of as a real-
ization by the artist that his subject
is sufficiently significant to merit
the most difficult, dangerous and
precious of approaches -simplicity.
The energy in a body-arm angle of
Mr. Beal's fishermen is hardly that
significant.
To further the list of bad pictures
there is "Sunset in the Foothills"
by Herbert Dutton ... bad primari-
ly because of an insensitive elabo-
ration of subject-matter . .,a
meaningless repetition over a very
large, commercial canvas of "pic-
turesque" dull'clumps.
Much better are "Garret Studio"
by Doris Rosenthal . . . a successful
Matisse, with the inevitable sugges-
tion of a box and a stumpy, firmly
outlined solidity in the figure; "The
Cribbage Champion" by Emile Holz-
hauer ..t, a charming composition
in subject, design, and color; "The
Arrival" by Warren Wheelock . .. a
juxtaposition in the sur-realiste
manner of several symbols, Venus
in her shell, a whale with a know-
ing eye, a Greek temple, the sug-
gestion of Hermes, Leda and her
swan . . . all delightfully insoluble
but bearing charming color-rela-
tionship; and even the convincing
eroticism of Emil Ganso's "Joyce."
It is very refreshing to turn to
the two small rooms in Alumni Hall
to find the astonishing vitality of
American in the graphic arts, to
find artists significant in major
mediums identifying themselves
with graphic mediums, to find a
surprising degree of mobility in
conception and execution through-
out the show. This show, not meant
as I understand it to be anything,
but just a haphazardly intelligent
d Drama -
BERNARDINO MOLINARI
A Review
A general enthusiasm prevailing
in all the parties concerned with
the evening made last night's con-
cert exciting. All of it derived un-
doubtedly from the forceful en-
thusiasm of Bernardino Molinari,
who showed himself musically re-
sponsive and exciting to an extra-
ordinary degree. The result of his
"temperament" on the men he was
leading was an energy in the De-
troit orchestra (its consistently vital
tone-quality, the warmth of the
strings' singing, the splendidly bold
stress in phrasing) which it had
never displayed before. This result
made casual listening impossible. j
The excitement would be deplora-
ble if it were caused by vigorous
exploitation of the emotive possi-
bilities of the scores played. Last
night it was entirely legitimate, I
think, because Mr. Molinari's per-
sistent elan at no time interfered
with the impersonal qualities of his
task: the acute sensitiveness to
form and the lucid insistence on
broader rhythmical movements. In
his most dramatic (most Italian?)
moods Mr. Molinari never lost his
sense of proportion as to wholes
and his desire for exactitude as to
details in that whole. That he could
so successfully fuse what are ob-
viously personal qualities with the
necessary impersonal elements of
his task is evidence of genius as a
conductor.
For I take it to be true (at least
in some flusic) that before a per-
formance can approximate the rad-
iance and vitality of the musical
idea at its birth it must be infused
with the white heat of a temuera-
ment and a vitalizing will to create.
When this creative is fused with
a consistently profound musical in-
sight the result is probably a con-
ductor-genius (Toscannini and now
it would seem, Molinari). Always in
the offing there are the conductors
of talent: intelligent, zealous, self-
effacing, conscientious and skilled
musicians (Gabrilowitsch and per-
haps Stock).
The reading of the B r a h im s
Fourth Symphony was of course
most important in the evening. The
"white heat" of Mr. Molinari's per-
formance in both the powerful and
the lyrical movements (actually in
alternation throughout all four
movements) in no way prevented
an amazing lucidity. And ludicity in
this most intricate of B r a h m s'
scores is a considerable intellectual
attainment. Typical of his under-
standing of the score was his re-
pression of the rhythmic implica-
tions of the first movement's lyric
first subject until its exciting ap-
pearance in a definitely rhythmic
context. His feelings about the
third movement seemed ultimate. It
was projected as slightly morbid
(in the sense of self-conscious) hi-
larity. Brahms' intellect was proba-
bly too insistent for him to ever
attain the pure spontaneity of Bee-
thoven in the Scherzo mood: and
this modification Molinari, by the
quality of his rhythm and phrasing,
projected, I think. The intricate
passacaglia, almost musicians' mu-
sic so massive a problem for the
intellect is it, was given a line co-
herence.
After intermission, Mr. Molinari
proceeded to a delicate sensitivity
to Respighi's evocative impression-
ism (with the orchestra unusually
sensitive to his intentions); and to
an amazingly brilliant performance
of a briliiant, but amusingly shoddy,
piece of writing by a modern Italian
Zandonai, that might have been
called the spirit of Italian Opera in
a more or less contemporary dress.
W. J. G.
ple flatly seen. Edward Hopper, the
water-colorist, has three superbly
successful etchings. Wanda Gag's
blithe spirit of design is seen almost.
at its best in "Evening." There is
Howard Cook's well-nown "Rail-
road Sleeping," alluring, dark and
quiet; a fine rhythmic composition,
"Clouds" by the late Arthur B.
Davies; Emil G anso's eroticism,
highly trained evidently, in three
studies of the same nude; and sev-
eral Rockwell Kent designs, nysUi
cal and fiercely seen. Louis Lozo-
wick's feeling about the steel <ge
is a little more debatable. He male
brilliant patterns in fiat black ajd
white. It is a smart style but in
refusing the mellow possibilities (f
lithography he gets a neatnese
about the city of New York that is
possibly sentimental. One shoWu1d i
mention two very amusing ;humo-
ists, Max Russell Woodson and
Peggy Bacon.
Perhaps the most striking 1rint.
e wandtrk
T'he 1931 Michiganensian wvill
incorporate many original and
different ideas.
The cover, the new sections,
the "modern
art wOrk,
wvAll
all be things which will make
the 1931 Michiganensian the
thoroughly NEW yearbook.
You Can Order Your Copp Now At The
Pre8-s luildin .
Now
iII t "'r'r° -v- ^r T r-r-r- ^v r -- -v-r-- . - -_+^v--v ^-t- r- ° -r- "-r-rv rT-v-rr.. -..-.-..-, .~..:. ._ .
part. similar to life itself and that larger
Five days were spent last week in ones are to a high degree. The term
debating the matter of requesting "paternalism" which is often used
of the President the retdrn of to express the policy of the admin-
names_ Pro~bab fiv e .mro d r istri i di l
1"1c. r i. Uy lv nu Uys 01
valuable time will be wasted dis-
cussing what means it is possible to
take to punish the President for de-
clining t¢ kowkow to the senate al
the time. All because three sub-
ordinate employees were dischargedi
for the smoother functioning of the
commission in question. Yet to hear
the members' speeches and com-
ments about the affair. one would
think that a vital question of capi-
talism oppressing labor was con-
fronting the nation. After receiv-
ing the President's message, the
senators rather childishly resolved
to consider the men as still uncon-
firmed, and the sage who offered
the resolution himself admitted
that the measure was "rather fu-
tile." Such perspicacity on the part
of one of the senators was rather
unexpected.
Especially enlightening were the
remarks of senators Dill and John-
son. Senator Johnson stated that
he "had voted for the confirmation
of the nominees with no particular
knowledge of their qualifications,
but now, having learned further
facts, would ask for their recall."
Senator Dill rather tritely and un-
appropriately said, "We know that
every time the power question comes
up we find those in the administra-
tion, from the President down, al-
;most unanimously on the side of
the power trust."
1 ~ ns a sagreeai e one to
us, but it seems to be what Presi-
dent Ruthven was referring to as
being overdone in the s m a 11 e r
1 schools. Are the larger universities
without governmental meddlesome-
Sness in the social and personal af-
fairs of the students? Are deferred
rushing, the auto ban, the dramatic
committee, supervision of parties,
and rules regarding hours for wom-
en, "conditions approximating those
in which we will find ourselves lat-
er? The University has every right
*to make rules concerning the stud-
ies; requirements for degrees, class
attendance, maximum hours to be
carried a semester, and other mat-
ters concerning them.
But let the student's social and
personal life be governed by his
own conscience and moral stand-
ards, which if not what they should
be by this time, are seldom changed
by outside sources. Ask their par-
cuts how the social regulations are
regarded when they go home for
holidays. Ask them if the rules are
similar to those actually found in
the outside world. College should
let him act for himself, enable him
to make his own decisions; teach
him that the wide world accepts no
moral laws as potential; that the
world moves by the dictates of so-
ciety. Only its civil life is governed
and guarded by our laws.
So it does not seem that the ab-1
has been the keynote of the Varsity's success,
and is the one outstanding reason why Michigan Men
have patronized the Varsity for 26 years.
The excellence of the Varsity is not merely a by-
word but proven by the continual growth of its clien-
tele.
It is for you now to enjoy the benefits of modern
laundering developed through years of experience.
Our new phone num ber is now. .
F ai
Fifth at Liberty
ill IE
1 111111