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'DILA OF 61\: lee eeD TO Nee INTELLeCTUAL :13T this iaaue the eLMCOL inteeducee a ser- 3 ef orticles,deeling zith well known artists. article of this type rill nereee eech eeek. In :.eoctioa eitn t!ti erticles, there be an ex etioe of some ieprints of the erteC.s work. ease eeproductione will be placed ie the mein 11 of the •d Building, 111111 Gezanne cne of the lenders in a evement which eourht to reorganize Depreeeionium Id to brio' back etructure tied orfeeization in etnting. In the late 19th Century certhin -en (some- eqee called :oot-Impreesioniste) led awe:: from ee enthusiastic Impressionist etyle end *volved 'ferrent techniques end nee approaches. 1-rob- eiy the greatest and eoet influentiel of these ees Cezenne. e, along eith i;eorue ,eurat, off in the direction to an objective-type of nritinr end scientific enelyeie of structure, solidity, end color. .11001Z BIRTH Cezanne was bcrn in southern Vrance in 1839 ond :.as the eon of a banker. eis father sent him to low school raj ninet his eiehee but he eas on eAet Ani a genius end could not repress his de- \e to peint. h:te est in art eentinued e-eughout his schooline and ho fieelly comelcte- - eeennone lee - nd ,evotee eie lire to rrlinting athoueh Gezannee .eeeoach to eeintine W38 very different fro- that o' t e impressionists, eork ees ereatiy infleenced by teem. ee was especially attracted by their use of color aed fee a ehile even ueei their tecenieee of apply- eOnt in thick, eeall areas. air cenveees eleaye more oretnieed than those of the Imp- pressionists thouen, and his Liter e%Tle does not resemble their lirtt, airy romantici.:m at ell. eLN6ITIVi TO DPINION6 He was hurt by the criticism and ridicule thrown at him by tete public, but he never eede eny ettemet to conform to popular demand. 1:e worked with energy and inteerity toward realizing eoel more fully. respected tradition, studying the old ~ n esters devotedly. But he sough to odd hie own contribution to the tradition of einting. Cezeinn's cenvasee - show an objectivity and .macs rroccueation with technieue. ee often sac- fices the human element for the sake or meteod compoeition, but in ell of his relintimes he eeerves n characteristic meditntieeneee end de- eheent. abstracted n great deal but never Jet sight of his eubjoct matter. He painted .ortreits, landscape, still-life, and groups of firures, but he concentrated on certain arrange- ments often pnintinr tee same subjects over, each time concentretine on a ui fforent aspect. Cezanne's art as the result of a mental process; andintellectuel conclusion after he ha e:rperieneed a ecriod of experimentation and tediously working out the problems of line, col or, and space. His influence on Cubism was un- equalled at that time. He knew that he could not fully \realize\ as he put it because he started painting too late in life; the real si- gnificence of his life and his paintinr is in his to painters or the future. Me opened the elite to great composition, leaving it wide open for his successors in the field of art. Thanks is due Earl Lucas for making the reproducttons of Cezannee work n- vailible for the display. A thirsty gentlemen wandered into a cor- ner salleon and ordered a dry martini. Ha drank it with rlish, end allowed as how it Was the best darn :ertini he ever tasted. The barkeeper whipped up another, and the customer declared it was even better than the first. \Such genius deserves a reward,\ he said. He reached into his pocket and produced a live lobster. \Beret Take this with my compli- ments,\ he said The barkeeper held the live crustacean gingerly at arm's length. \Thanks he said dubiously. \I suppose I can take it haul , for dinner.\ \No objected the customer. \He's already had his dinner. Take him to a movie.\ ** * * TODAYS YOUTH'SOBER' SAYS JOURNAL. Are the high scholia and colleges infil- trated with communism? Is \this generation of American youth far more conservative than the generation of the twenties, thirties, and early forties': Dorothy Thompson presentedher views on the crucial question, \Is American Youth Radical?\ in the :lay Ladies Home sour- nal. Among the \bright young intelligentsia of the first postwar period\ it was fashionable not to believe in God or in any divine creat- ive force whatsoever. They scoffed at patrio. tism and proclaimed the only American idol to be money; the oath to the flap was considere childish; the business mentality was the ene- • my of all creative expression. erguing the nonexistence of God or of any superhuman basis for morality was a favorite topic in the many strdios and sparsely furnish- ed apartments that covered Greenwich Villige. Sinclair Lewis aumnmed up his generations phil- osophy in \Main Street,\ which had a gigantic circulation. Those who could find the means to do so migrated to the Left Bank of Paris to haunt its cafes and seek conformation of the idea that American democracy was hopeless. •