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Discusses the concept of Dadaism and the religion of art. Association of the Dada movement with "absolute art" and "pure poetry"; Emphasis on high disdain for the public and for popular writers as a tradition in the religion of art; Attempts of the Dadaists to force artists to observe the law of art, governing not only their books or paintings, but also their career and judgments of the world.

This article focuses on the book "The Decline and Fall of the Romantic Ideal," by F.L. Lucas. The book includes a not unpleasing account of a journey to Iceland, for most critics stick, Mr. Lucas think, too closely to libraries, and a long attack on Coleridge and a shorter one on surrealism and Ezra Pound. It is a little difficult to find one's way intellectually through all these riches, and the author is apparently aware of the fact. For he provides "an epilogue for reviewers and others who may find the book too long."

Remembers French painter and symbolist engraver Odilon Redon. Recollection on how the artist was introduced to a career in oil and pastel painting during his childhood; His inspiration for expressing art through oil paintings of flowers contrasted with eccentric lithography; Comparison of the artist's paintings with Oriental lyrical poetry.

In so far as British author and artist Wyndham Lewis can be thought of as part of any movement, that his thought allies him; Ostensibly prophets of a new faith engaged in announcing the glad tidings of a salvation by abstract thought, a certain despairing lassitude has unreasonably enough fallen upon them and it is with the greatest difficulty that they succeed in squeezing from their minds two paragraphs of prose or one quatrain of verse per year. With him, on the contrary, the pen can never keep pace with the brain and one treatise is not half done before another is projected.

The article focuses on the Art Commission Movement, that was held in New York. Delegates from seven cities met in conference, accepting the invitation of the New York Commission.; and, together they discussed the many conclusions relating to public art, in cities and the U.S. As a means of giving form to the general conclusions reached, the conference appointed a committee to work out a scheme for the further organization and extension of art commissions in the country. The report of this Committee has just been published, and on account both of its subjects and scope it deserves more than passing comment.

The article discusses on the influences of the American folk arts to the people of the present generation. The art is said to have owed its current prestige to the modernist who had passion for it. American folk art has achieved equality with other modes in museums and art galleries and publications. Folk art escapes the handicaps that plague modernism and is particularly free of the nervous consciousness of art-historical trends that characterize modernist art movements.

The article examines Futurism, which is the art movement that emerged in Milan, Italy in the years immediately preceding the First World War. E.F.T. Marinetti was the progenitor and guiding force of the movement. Futurism became a nationalist, militarist and elitist movement in Italy. Futurism supported the left in Russia. Futurism associated art with physical dynamics and effusions of human energy. The works and principles of futurists are described.

The article focuses on the de-aestheticized art movement, which represents earthworkers, anti-formers, processors and conceptualists. The author describes the movement's growth since Robert Morris' aesthetic withdrawal in 1963 and Donald Judd's demand for more real, or actual, materials. He also suggests that the movement toward de-aestheticization is both a reaction against and a continuation of the trend toward formalistic overrefinement in the art of the 1960s.

The article features Jean Arp and his works of art. He is said to be one of the original Cabaret Voltaire founders of Dada. However, his work resembles few of the qualities associated with Dadaism. Arp's images is related with nature, on dreaming, and the everyday subjects. He does not seem connected with the Dada that has defined itself historically by its anti-social and anti-art gestures.

The article discusses how democratization is changing the art landscape in the U.S. as demonstrated by three exhibitions. Democracy in art is changing the status of artists in the modern movement. The Carnegie Institute's Department of Fine Arts has organized the exhibition "French Painting, 1100-1900." Meanwhile, the art sector in Florida is getting support through the Florida International Art Exhibition and the Terry National Art Exhibition.

The article describes Cubism as a movement in modern painting. Cubism is a more structural, form-centered type of movement which considers relatively neutral plane as its basic element. Based on culture, Cubists and their associates are considered to be part of the traditional French way of building pictures logically and rationally. Some of the most famous Cubists are Pablo Picasso, George Braque and Juan Gris.

The article focuses on art movements or "schools" which refer to attitudes shared by artists in more or less formal contact with one another, and certain technical conceptions derived from those attitudes. Such attitudes and their derivatives are blended into or supersede the stylistic heritage of a city or region. Art movements usually identify paintings of the 20th century. The leading art movements, the works of their representative artists, and their role in American art are also discussed.

The article reports that surrealism is the subject of an exhibition that is being held at the D'Arcy Galleries. The exhibition had its official beginnings in Paris, France in 1924. The Surrealists were the first to evolve a theory and a system for such manifestations and it may be that in their function as members of the movement at any rate.

Focuses on the conceptualists in the arts and conceptual art. Evolution of art from the use of theatrics to one that is anti-intellectual; Significance of Dadaism-Surrealism and the success of American art; Overview of conceptual art and earthwork art.

Offers a look at a movement to make the arts available as a public service in Great Britain. Approaches cited by the Labour government to promote the art; Budget given to the Arts Council; Role of the Trades Union Congress in creating the Centre 42, an association of celebrities in the arts; Plans of Centre 42 for the art; Artist and art enthusiasts involved in Centre 42.

Presents information on the influence of German painter Hans Hofmann on the art movement. Comment on the abstract expressionism and minimal art modes of painting; Reference to the book "Search for the Real"; Distinction between the space of illusion and the use of the phrase "picture space"; Statement that a real flat surface and the illusion of movement in space can coexist; Information that the Cubist affirmation of the prime reality of the flat surface was subsequently codified by both Hofmann and Joseph Albers, a painter, as academic dogma.

The article offers information on several art activities in West Germany. It features several artists who have gained international recognition including Heinz Mack, Otto Piene, and Gther Uecker. It notes that they joined together as the Group Zero in 1958 with their aim to create a "white world" out of light,motion and other optical effects. It also mentions the art works rolling in Rhineland.

In this article, the author focuses on the surrealist theory of art. The surrealists not only say they are Marxists, but insist that acceptance of their poems entails acceptance of Marxism, and that these poems are necessary elements in the struggle to overthrow capitalism. Their dialectical materialism, however, is of a muddled and cabalistic kind, a science of the general law of movement of the universe. It may be objected that their poems have nothing to do with Marxism or psychology, that they are not assertions about matters of fact but works of art.

The article discusses about the importance of re-establishing the geological bases of art and to emphasize them in such a manner that artifact and impulse precipitate cosmetically into their primal states of matter. Although much of this development is to be seen in Western European countries, the phenomenon strikes one as inherently American in its absurd grandeur and its cranky diffidence whispering of cosmological overtones. It can be remarked, not in the realm of historical causality but in the terrain of suggestive coincidence, that the presence of this art at this moment is ramified by the political situation.

American painting achieved international status in the 1950's, as a result of work begun in the late forties. American art done earlier in the century, aside from a contribution to Dadaism, was generally regarded as provincial. There were two ways of being provincial: one was to use strongly American subject matter, and the other was to use European styles as a model. However, the dominance of American art in the sixties has increased native confidence to the point at which the disreputable early phases are being revived respectfully. The thirties are in process of rehabilitation and one sign of this is the exhibition at the Whitney Museum of American Art called "The 1930s: Painting and Sculpture in America."

The article focuses on some scholarly contributions of the Museum of Modern Arts in the U.S. The Dada, Surrealism and their Heritage show at the Museum of Modern Art has been the target, unlike most exhibitions of its large scale but innocent historical intentions, of a farrago of brickbats and kudos. One of the immediate issues turns out to be the exhibition's thoroughness, an issue that can be broken down into two sections. The first, of lesser interest, concerns what could have been, as compared with what was, included at the museum.

The Surrealist motive for a naturalistic technique is plain. The more vividly, literally, painstakingly the absurd and the fantastic are represented, the greater their shock. For the sake of hallucinatory vividness the Surrealists have copied the effects of the calendar reproduction, postal card, chromeotype, and magazine illustration. The Surrealist image provides painting with new anecdotes to illustrate, just as current events supply new topics to the political cartoonist, but of itself it does not charge painting with a new subject matter. On the contrary, it has promoted the rehabilitation of academic art under a new literary disguise.

The article presents a discourse on the Pennsylvania Academy. The Academy continues to be more representative in its exhibitions than the National Academy and its average is higher. But there is not much of special distinction in the present exhibition-its one hundred and fourteenth. Some of the most notable paintings have been already shown like Childe Hassani's "Tanagra." And the growing tendency to promote local interests and local talent,-or want of it,-threatens to take from the Academy that very liberality which, for a while, was its most important asset.

One has been long accustomed to look outside an academy for whatever is vital, or original, or individual in the work of British painters. Hitherto in England there have been two chief headquarters for the two chief groups of Independents. The New Gallery has offered shelter to artist Burne Jones and his school, the New English Art Club has been a center for the younger men who also have disdained academic restrictions, but whose sympathies are with modern movements rather than primitive revivals. Fortunately, this year both have opened before the Academy, the New English Art Club several weeks ago, the New Gallery today, so that there is time to give them the preliminary attention which is unquestionably their due.

The article describes about various art work. The Kootz Gallery has been showing on its walls a new work of Adolf Gottlieb, called Unstil Life, which is one of the major mural designs of the decade. Jose Maria Sert had in the meantime painted some additional square yards of his sepia murals on the surface of the Radio City’s Christmas Tree. It also refers to the exhibition, recently opened at the Museum of Modern Art, on the early twentieth-century Dutch movement known as De Stijl. This is a small segment of a big show which was organized in 1951 by the Stedelijk Museum in Amsterdam, and went to the Biennale in Venice last year.

The article examines the significance of the abstract art, an anti-natural movement in the visual art. The author explained that abstract art has certain polar emptiness with disconcerting tropical redundance. On the other hand, he discussed about the paradox regarding the freedom of painters on exploring beyond nature.

Focuses on the emergence of popular art, now evident in billboards, comics, grocery displays, brassiere ads in the U.S. Emergence of the popular art as an American phenomenon; Erosion of the professional standards on which an artist's training used to be based, and which provided norms against which his accomplishment; Discussion of the abstract expressionism.

The article presents the author's criticism of French art. He refers to the revolutionary movements in arts such as the Byzantine art and Impressionism, a 19th century art movement of Paris, France-based artists. The author also comments on several impressionist painters such as Claude Monet, Vincent Van Gogh, Paul Cézanne and Paul Gauguin.

The article focuses on an essay by Roger Fry in the book titled "Henry Matisse. With an Essay" Fry's essay in the book never suggests the richness of its subject. It is a cleverer outline of a modern movement, showing Matisse's place in it. But one feels from reproductions that Matisse is so mature an artist that he can no longer be treated as if his greatest importance were that of a leader of a movement. There are qualities in his painting, which have little to do with the philosophy that has been built around him. He is one of the most interesting painters of women.

This article presents information on the indifferent attitude of people shown to the struggles of such an important art movement as the American Conservatory at Fontaineblean. For not only is it one of the few material evidences of those numerous professions of international friendship which drugged the air so sweetly before the Armistice but it also points a definite and practical way toward musical reciprocity between America and other countries. Founded in 1921 by Francis Casadesus and Maurice Fragnaud, its initial conception sprang from the School of Music for American bandmasters at Chaumont of which Casadesus was musical director. Through Casadesus the interest of the most prominent musicians of France was aroused.

The article focuses on the life and works on Arthur Bowen Davies, the prime mover of the modern art in the U.S. It highlights Davies' genre of modernism in his works by portraying youthfulness displayed by nymphs and little girls and his support to the 1913 Armory Show of Modern Art in New York City. Details related to the surge of the cubist movement after the Armory Show, the death of Davies in Florence, Italy, and the exhibition of his paintings in Utica, New York are also presented.

The article profiles German expressionist painter Ernst Ludwig Kirchner. It mentions that Kirchner first studied architecture due to his father's insistence but later switched to painting when he obtained his diploma. It also states that Kirchner along with his three former fellow students had organized a movement in 1905 called Die Brke also known as The Bridge proclaiming themselves as the leaders. It notes that Kirchner ended his life at the age of 58 by shooting himself.

Presents information on condition of abstract art. Exposition of abstract art that was dedicated by Alfred H. Barr long back; Information on abstract art as art of subconscious and new structural attitude; Report on a series of 4 pictures giving example of esthetic transformation of an object; Information on outstanding movements in art past fifty years; Report on cubists and abstractionists carrying the crusade against naturalism; Focus on maintenance of Abstract art as a clinical aloofness from the struggles of life around it.

The article features Salvador Dali and the reason why he was officially dismissed as member of the surrealist group in the early 1940s. In his article in the French monthly journal "La Table Ronde," Dali claimed that he was kicked out because he was too surreal. His surrealist paintings include Vladimir Lenin and Adolf Hitler.