ANW IQItT ,

THE MICHIGAN DAILY

SUNDAY, APRIL 1, 1923


THE ARTIST AS A CHHARACTER ANALYST
(Continued from Page One)
object is the sublimtion of details. A line that has a childch sophistica-
caricature is then a graphic represcn- tion. H reliec on pure black ant
tation of the essence of character. white for his effects though his line
Perhaps it would be well to point gives a suggestion of shading.
out the few caricaturist., that this Sullivant is perhaps better known
country can boast of. There is a tthan Opfer because of his inimitable
starling paucity of them but as the canimal caricatures tlat appear regu-
art is recognized they will increase larly in Life. ie has an absolutely
in numhber. I can only name five goodI original technuique, consisting of broad
caricaturists who are working in the I masses of feathery ltes, which lie
United States and of these only one, uses to good advantage. Often there
Alfred Frueli, approaches the height i's real interpretation in his drawings
of his art. The other four are Will-. Opfer made a series of admirable
iam Gropper, 'T. S. Sullivant, Ivan sketches of presidential possibiltes
Opfer and Ralph Barton. Of these for the New Republic a few years ago.
Barton is perhaps the best known IThey show a keen insight and a sense
because of the amazing amount of of the grotesque which at once amus-
work he has turned out. Vanity Fair, ing and startling.
Judge and la number of other maga- I have seei Alfred Frueh's work
tine print his drawings regularly. He in Vanity Fair and Shadowland. It
practically always achieves a good reveals a striking plasticity of tech-'
likeness, but there is little or no pur- iiique that makes each caricature ex-
poseful interpretation of character in ceptionally individual. Ile does not
his work. If he would stop comer- hesitate to symbolize character Iy the
cializing his art and'pause to analyze mobility or stilfness of hi: lines as
the characters lie is drawing, I ant sell as by cxstgerati ft-e charac-
sure he would show us some wonder- teristic features iand, in many cases,
ful results. His technique with its leaving al but the most imnortant
thin line and independence of chiaro- details out. His work is a striking
seuro is admirably adapted to carica- example of the power of a line for ncot
tre. one stroke could be added to or taken
Gropper is familiar through a se- away from his drawings, their exact
ries of caricatures of literary lights length and twist, even their breadth,
that he has made for the Bookman. are so carefully made that any change
He seems to put much character in would destroy the whole effect. '
his work, but his technique is a bit It is certain that caricature has a
confusing. He uses a short, choppy wonderful future. It is progressing
rapidly and it is a thousand tiwes
AMONG THE more revealing than any photograph.1
MAGAZINES It can indicate thungs no photograph
could ever present and as an art it s
(Continued from Page Four) Isuperior to the pen portrait.


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other state in the Unioni asserts Mr.
George C. Edwards in an exciting ar-
ticle on "Texas: The Big Southwestern
Specimen" of American capitalism, ap-
pearing in TH E NATION for March 21.
But he consoles the Longhorns by as-
suring them that "few other states are{
in a position to throw stones at us.'
"Is America Anti-Semetic?" is the
title of another "Nation" article in
which Mr. Gannett gives his opiuiun cf
the trite Jewi 1qution, lIe beclie-
that "Angll-Sa:n Americans I
siteall interest ice te 'cc"mltin'-;ecex'
ccItt a1s c t h'e n is ilc c'es
icsici l ' -'c-eec
c,ei eelt Ai- eeim t
dlazzteng.
THE DIAL for March was a y
splendid magazine; it is a gust of ites.
It contains, among other good ting,
the finest criticism I have discoverect
in a long while. This criticism is by
Malcolm Cowley and is entitled "A
Monument to Proust". Whether or
:lot you have read ttarcel Prouste -
"Remembrance of 'things Past" pre-
eludes not at all your enjoyment o
Mr. Cowley's essay; because the essay
conforms to the first rule of art: It is
interesting in itself. Not only does
it honestly judge the work in ques-
tion, but it does pon.ssess its own idea,.-.
But what is nore important still, it
forever keeps its own ideas subordin-
ate to a sincere appreciation of Mar-
cel Proust, the artist. If youc do not
know Marcel Prouit now, you incest
surely knovwIintaftere' readfitg Mrt.
Cowley's criticism.
"The Kneeling Woman" is a story
by Paul Morand; and wlile it does
not educe tecly ferventci enthustasm
from the reader, it at leIast rouces
thougtt for the tine e.ceg. Likc
mrny eictr stories lpulblishe'd in "The
Dial", however, the syce isf iteore
conspicueec ehan tce ustoy, ivitli the
result that the whole is degraled.
A more quiet note is Hugo Von
Hofmannsthal's letter from Vienna in
which he discusses his own work,
"The Grand World-Theatre of Salz-
burg" which is soon to be produced
in New York. Hugo Von Hofmaans-
thal, is must be remember, is probably
the greatest continental poet of today.
His letters from Vienna appear re-
gularly in "The Dial" but they are
hardly an index to his great genius.
Hiss little poetic dramas: "Dutch and
the Fool", "The Madonna Dianora",
and "Electra" are all very beautiful.


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