Pictures and the Picturegoer (Jan-Dec 1924)

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JANUARY 1924 Pictures and P/cf\jre$oer 41 TKeNem Masters MARJORIE MAN/NE F Above : The grouting in this scene of " The Royal Oak, recalls "When Did You See Your Father Last?" In lonely state, paintings by the Old Masters hang in palace, cathedral and picture-gallery. The New Masters cover a wider field, for their work is multiplied and sent to every corner of the globe. rom the Old World came the first pictures, religious paintings of Madonnas and Saints, and scenes from the life of the ;;rcat Teacher. From Italy, France and Spain, and later from England, when her Kings and Queens encouraged the art of picture-making and engaged distinguished artists to paint themselves and their courts. Thus came into being the Old Masters, the Rafaels, and P.oticellis, the Holbein, Hals, Velasquez and Rubens paintings which adorn the Galleries and Museums of the great cities. Time scarcely touches their glowing colours, and they remain to delight connoisseurs and inspire beauty lovers throughout the ages. But this twentieth century of ours has witnessed the birth of another kind of picture. From the New World they came, these pictures that move. Crude, ugly things, the earliest, yet neither cruder nor uglier than the first rough strivings of the monks in the ages when all Art was in its infancy. From the New World, too, came the first of the New Masters, made by twentieth century artists, who painted with living materials and who are only just learning the uses of colour. Yet their work, too, will endure in ages to come. And a Tenth Muse will arise, star crowned,when the Motion Picture takes its rightful place amongst the Arts. It is certain that the Old Masters inspire the New. For composition, for lighting effects, for draperies, costumes and types, the makers of movies seek inspiration from ancient masterpieces, then translate what they find into celluloid, using their own medium of light and shade. Backgrounds, equally lovely are provided by Nature Unlimited and thus all the old beautiful effects are reproduced and new and original ones gradually evolve. The Motion Picture is just finding itself as an art, and the directors use the megaphone and the camera much as the painters used their palette and brushes. And the best of them hail from the Old World. Scastrom, Stroheim, Ingram, Lubitsch, Gance, Pearson, the directors of the Italian spectaculars, arc Europeans all.