THE AMERICAN-SC AN DIN AVIAN REVIEW 
2 5 
work in this newer field. The “modernists” especially, who have 
focused their attention upon schematic composition, excel in weaving 
the contemporary scene—New York skyscrapers, automobiles on Fifth 
Avenue, parks, zoological gardens, door-yards—into skillfully conven¬ 
tionalized patterns of true originality and great vivacity and charm. 
A larger number gild the gold of their patriotism and tap the museums 
for primitive sources of American art, getting their inspiration from 
Indian potteries and textiles. It is all preparation for a more united 
effort as the co-operative movement gains force and the demand of 
the industries for a high type of American design increases. 
Preparation also is going on in the schools, especially in the easier 
paths of industrial art. There are classes in design that fit the young 
student to make advertising posters, to design costumes, and to illus¬ 
trate. Much of the work shown at the annual commencements is sur¬ 
prisingly good on the technical side, and as large a proportion as 
could be expected shows a genuine talent in the designer. To foster 
taste, that last fine flower of civilization, the school children are taken 
to the museums and shown art in no" le original examples. Lecturers 
talk about art to them and illustrate their talks with lantern slides of 
authentic productions. Describing and drawing from original master¬ 
pieces is a part of their curriculum. If they are not familiar with the 
artistic activities of the past, it is not the fault of the schools. Of 
course it does not produce such artists and craftsmen as emerged from 
the long studio apprenticeship at the right hand of the masters, but 
it is the beginning of a new type of training that probably will grow 
to meet the higher requirements of our modern social life, that already 
meets its simpler requirements astonishingly when the youth of the 
impulse is considered. 
The character of the decoration that changes the face of our homes, 
especially our apartments and country houses, has become aggressive. 
The wan gilt and white and rose and blue of the once favorite Eight¬ 
eenth Century French models have given place to lustier colors, and 
the delicate curved lines of that period are replaced by bolder forms. 
The peasant has entered the palace and imposed his own traditions. 
The homely crafts have gained in popularity, and societies all over 
this country as abroad are feeding the weakened “cottage industries” 
and “cottage arts” and are trying to bring them back to normal. 
Thus art is becoming consciously accepted as an indispensable 
element in the life of the people. It even has passed the crucial test 
and appeared in the carefully guarded field of our amusements. In 
the theatres we are beginning to be concerned with stage decoration as 
a part of the dramatic, not merely the theatrical effect. We are begin¬ 
ning to see that the background is a part of the stage picture as of 
any other, and that a dead background disintegrates the picture and 
diminishes its vitality. That the designer of stage “sets” and cos- 
