The Sculpture and Mural Decorations of the Exposition - A Pictorial Survey of the Art of the Panama-Pacific international exposition by Stella George Stern Perry
page 8 of 93 (08%)
page 8 of 93 (08%)
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Where all is weak and clothed in failing forms,
Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do." The persistent necessity for creation is strikingly proved by the prolific output of the Arts. Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists. Good or bad, useful or useless, it must be satisfied. It amounts to a law, like the attraction of the sexes. Discouraged in some directions, it will out in others, never permanently satisfied. Each age and people must have its own art as well as what remains of the arts of past ages and peoples - in spite of scant patronage, commercial limitation, and critics' hostility. The philosopher tells us that everything has been done, yet we must do it again - personally. Art is so much a part of life that to discourage it is to discourage life itself - as if one would say: "Others have lived; all imaginable kinds of life have been lived. Therefore it is unnecessary for you to experience life." The plastic and pictorial decoration of an Exposition offer unusual opportunity to the Artist, at the same time imposing handicaps - the briefness of time, the poverty of material. It affords chances for experiment, invention, and originality only limited by the necessary |
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