at of Tirragiae
#tve in 4e Clora
roup of artista and craftsmen,
d. Denis, IVermiann, Maillol,
Rodin, Teuloue, and Lautree
chem. Min fellow-traveler on
tlons of chlture was van de
who shared his interest in
manship and had been reach,e
Infltencerer William Morris
n Thorn-Prikker took to mak¬
ndows he was far past the stage
sidering them as pietures copled
ss. The old method of making
er-color skeich us a gulde to the
nthe workshop he abjures as
gtowardsthis debase copying
#matarial effecte gained in an¬
, 158 0
8 29
den im te
— Cologne Exhibttion.
children allke of larger and of lesser
Only a lazy mind would rebel at the
exactions made by the incompleteness
of these designs, änd even a lazy mind
might very well be stimulated to
healthful exertions by the tonic of the
Not far from the Thorn-Prikker
Chapel Is the Marionetten Theatre,
brought from Munich by Prof. Braun,
and affording ánothe“ proof of the
general turning of art toward primitive
avenues of expression. H. again
one finds opportunitz to exercise the
Imagination made heavy by a long
course of realism. Prof. Braun has,
however, very cleverly estimated the
agility of the publie mind, fattened and
stiffened and needing much heip in the
mildest of Imaginative flights. The
marionettes as he creates or recreates
them are no longer the comparatively
Traw materlal öf the Punch and Judy
Phow. One goes to the little black¬
Lowen Rhainiell baildin
durtalned theatre with its plaques, of
in Dhe exhbitionz.
srong, vivacious color in a reminis¬
cent mood. Back there in Paris it has
other. Instead of a colored drawing
been casy to pause on the way to the
he maken a linear dlagram, writing
Bpls for the simple fun of watching
in the spaces reserved for color the
the battered dolls of Peti: Qulgnel
names of the colors contained in his
bhating one another to the musie of
composition, or their numbers as they
childish aculations. For centurlen
are known in the workshop. The
#ich battered dolls have engaged in
method closely approaches that of the
ploodters confligt; for centurtes Gull¬
musical composer who uses his system
laume has applied his endgel to the
of notes to bulld up symphonies that
shoulders of Pierre only to be inordi¬
others may produce without having
nately surprised by the cudgel of
heard his personal interpretation.
Pierre reclprocally descending upon
Thus the master of the workshop can
the shoulders of Gufllaurne; for cent¬
meke the result#to###vertain degree
uries the man behind the curtain has
his own by his indlvidual varlations
asked the frontbenches to dectde the
of the color.
fate or Gulllaume and the front
Thorn-Prikker has been happy in
benches have pleaded that Quillaume
the interpreters. The color of the win¬
be at onde put to desth. and have sub¬
dows at Cologne is pure and deep and
sequently intoned in little, thin, high
the transltions from Gpol to warm and
*Un! deuzl# trole! II est
from dark to light are made with fine
control of the difficult medium. In
Teu go tosthe Marionetten Theatre
his treatment of the subject or story
recalling all this, and self-consclously
the artist is extremely modern. As in
Tamused by the adventure of becoming
his technical effects he insists upon
la child again, a small child under the
the collaboration of his workmen, so
krees, sbrilling out:“ Un, deux, trois!“
in his illustration of his theme he in¬
Nou find instead that you are a child
eists that his publie partielpate.
who has grown up and your marion¬
Where it Is a question of the Flight
settes have grown up with you. The
into Egypt, for example, he leaves 11
Istage before you is set with scenery
aquestion Instead of pinning it down
designed by artists of the highest de¬
to a statement. One of his advocates
gree of training, the puppets are the
describes his own feeling in confront¬
work of such prominent sculptors as
ing the work:
sthe late Prof. Ignatius Taschner, and
I see the great eyes of the children
the plays, of threa-quarter hour
peering and peering seeking out what
length. are by Artur Sehnitzler, Maur¬
may be there, a child and a woman
here. and there perhaps a man, and
fce. Maeterlinck, and others not less
then the ass; yes, aurely It must be the
Inotable, with operettas by Mozart and
Flight into Egypt, and euch child may
Offenbach and Pergolesl.
now proceed to paint the scene in his
The play on the boards happens to
imagination as he chooses. And, If yon
e that absurd Punpenspiel by
please, are these not things made for
good melodramn as the confliets of
Pierre and Gulilaume, yet served witi
psyehologieal splee, the same thaf
made" Dr. Bernhardi“ notable in itt
decade. The characters are the char.
acters of the human world, whittled
Trom wooden blocks to sult the per¬
formance and Its masque of un¬
reality, yet singing the unmistakable
song of life through a singularly com¬
petent mechanism.
Of course this competent mechanism
is all that solleits yon as yon sit in tii
decorated box of a room absorbed in
the puppets, dipping and kneeling and
skipping and nodding, embracing, be¬
seeching, with a marvelous freedom of
gesture, almost too close to reality at
times, yet saved, gulte completely
saved, by irresistible angularities turn¬
ing a threatened sentiment into deco¬
rative farce. The singing from behind
the scenes is fitted with precision to
the gesture, and one learns how littie
u face does for the significance of a
Out of the theatre into the erhibition
grounds you go, pondering the reia¬
tion between these abstractions child¬
ishly conveying a vivid intellectunl
conception and the future of modern
drama, the future, for that matter, of
modern art. It is the seine you 8##
with this form öf espression as with
that chosen by Thorn-Prikkter for his
windows. There must be the symbol
of emotion and the right symbol fer
the right emotion, und an artist munt
be the compeser, and the effent munt
be deep enough ferchllaupod and —
simple enough for Mütürtty, Ans
vou have your modern art whether 1#
is made with pleces of vood or Mlüges
of glass.
You wander throuchthe exhloition
erounds und note the wide Pre# f
Interesto Invaded by the art impalse.
Here are littie workinmmen's Meimen
with nent plecnrds telllug vau dew.
much Won cost und tus eint #
the we per und Uhn Umolamm.
ihe general imd ossion in natthel
tlathnt zios ampoverished, but of
plensant to the eye, Wholen
fair. Here is the Werkbund
with its tbreefold stage, An
the Haus der Frau in which
tivities of German women uro given
the ample place they demand.
You think to yourselt what a useful
nation #n this, what promise it holds
of an Iadustrial growti# rom roots
that haue beon plantegrüeen in the
native soll and well guarden Trum aer
eident and negligence. Von think 1#
yourself that German Industrial Art
has a chanch to cenquer che worldh
pot by its gesthetic superforlty t#
that of other nations, but b## thaf
splendid vital forcesthat turns it iuto
the waste plagen to ake them blvone
in freuhne##ut adon tire piensu.
giving quallte to common things, thaft 6#
finds the sepret of joy in work and
shouts it abroad.
The nert week vou ask yourself
what thoughts are in the minds et
the artists who sce their life work
crumpling in the flame of European
war. You recall the words of the
bookseller who sold you last year
your copy Mf Hauptmann’s" Fest¬
spiel.“ Artists cannot be patrlots,
he suld, artists must see the truth
on all sides, and it was true t0 say
of Napoleon thater treibt die Welt
wie einen Kreisel, was it not?“ That
philosopher probably Is now helping.
his own Emperor in the Napoleonie
task ofidriving the world like a hoon
and chewing the cud of a reflection
which he willingly shared with #
sympathetie American, the reflectior
that war, even a littie war, is out¬
rageonsly bad for business.