;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 Control of Student Publications. Member of Western Conference Editorial Association. bThe Associated Press is exclusively entitled to the use for republication of all news dis- Patches credited to it or not otherwise credited on this papereand the local news published herein. Entered at the postoflice at Ann Arbor, of achigan, as second class matter. Special rate of postsa granted by Third Assistant Post- mater General. Subscription by carrier, $4.00; by mail, $4.50. Offices: Ann Arbor Press Building, Maynard Street. Phones: Editorial, 4925; Business, 21214. EDITORIAL STAFF Telephone 4925 t 4 ~MANAGING EDITOR Chairman Editorial Board HENRY MERRY FRAMX E. COOPER, City Editor News Editor...............Gurney Williams Editorial Director ..........Walter W. Wilds Sports Editor..............Joseph A. :Russell Wo~men's Editor ........... Mary L. Behymer Music, Drama,Books.........Wim. J. Gorman Assistant City Editor.......Harold 0. Warren Assistant News Editor...Charles R. Sprowl TeegraphEditor...........eorge A. Stauter Copy Editor ..................Wim. F. Pype: NIGHT EDITORS S. Beach Conger John D. Reindel Carl S. Forsythe Richard L. Tobin David M. Nichol, Harold O. Warren SPORTS ASSISTANTS Sheldon C. Fullerton T . Cullen Kennedy Robert Townsend REPORTERS E. Bush Wilbur J. Meyers homas M. Cooley Brainard W. Nies aul Friedberg Richard Racine Franik.B. Gilbreth Theodore T. Rose Jac Gd oldsmith Jerry E. Rosenthal oland Goodman Charles A. Sanford Morton Helper Karl Seiffert E:dgar Hlornik Robert F. Shaw Bryan Jones Edwin M. Smith Denton C. Kunze George A. Stauter Powers Moulton John W. Thomas John S. Townsend Eifden Blunt Mary McCall F.1sie.Feldman Margaret O'Brien Ruth Gallmneyer Eleanor Rairdon Emily G. Grimes Anne Margaret Tobin cean Levy Margaret Thompson orothy Magee Ciaire Trussell BUSINESS STAFF Telephone 21214 T. TIOLLISTER MABLEY, Business Manager KASPER H. HALVERSON, Assistant Mlanaget DEPARTMENT MANACERS AdAertising.................harles T. Klinm Advertising ..............Thomas AT. Davis Advertising...........William W. Warboys Service............... .Norris J. Johnson Pblication............Robert W. Williamson Circulation .............. Marvin S. Kohacker Accounts ....... .,..........homas u Business Secretary............Mary J. Kcnan Assistants Harry R. Beglev Erle Kightlinger Vernon Bishop Don W. Lyon William Brown William Morgan Robert Callahan Richard Stratemejier William W. Davis Keith rater Rihard ,H. Hiller Noel I).ITurner :Miles HIsingtopi Byron C. Vedder Ann W. Verner Sylvia Miller Marian Atran Heclen Olsen, Uelen Bailey ; Mildred Postal Tusephine Convisser Marjorie Rough %x~ainc Fishgrund Mary F. Watts Dorothy LeMire Johanna Wiese 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