About This Book
" ...]of conventional form: if both were more free, more individual, than their contemporaries, this was the expression of their Americanism, which may perhaps be defined as a spiritual independence and love of adventure inherited from the pioneers. Foreign artists are usually the first to recognize this new tang; one detects the influence of the great dead poet and dead painter in all modern art which looks forward instead of back; and their countrymen, our own contemporary poets and painters, often express indirectly, through French influences, a reaction which they are reluctant to confess directly. A lighter phase of this foreign enthusiasm for the American tang is confessed by Signor Marinetti, the Italian "futurist," when in his article on 'Futurism and the Theatre', in 'The Mask', he urges the revolutionary value of "American eccentrics," citing the fundamental primitive quality in their vaudeville art. This may be another statement of Mr. Lindsay's plea for a closer relation between the poet and his audience, for a return to the healthier open-air conditions, and immediate personal contacts, in the art of the Greeks and of primitive nations. Such conditions and contacts may still be found, if the world ...]."
