alone is sufficient to cause a state of un easiness, which is conditioned by everything he has heard about art and artists. He has no objections to buying some old paintings for his home, nor does he object to having his advertising manager buy so-called "art work" for the advertising of his product, but he hates the idea of having his cherished brain child turned over to this dubious fellow, who is generally recognized as being non-conver sant with daily life and industrial problems. What does the manufacturer do when he finds a new purpose for his raw product? Let's take, for instance, a manufacturer who is very successful in steel diecasting. He knows that with his technique he can produce bedroom furniture much more durable and inexpensive than can be made of wood. He tries to solve his styling problem by copying the shape of the usual wooden suite, disguis ing his steel as wood by painting it "genuine mahogany." Another manufacturer engaged in exploit ing asbestos sheets for wall covering puts on the surface a photographic image of an Italian marble, thus degrading his excellent product into a substitute. Nor does the consumer feel the particular urge to beautify the products of the machine. The desire may be in his heart, but in most cases it is still quite unconscious. For sev eral generations, ever since the machine-age started, he has taken for granted that you cannot expect aesthetic perfection in a cheap machine-made article. The artists of the last generation turned their backs with contempt on machine production, fleeing from the ugli ness of life, taking refuge in a piece of can vas in a gold frameonly there could they realize their dream of beauty. But there has slowly developed a new school of artistsartists as much as their predecessors were, in every sense of the word

Advertising Arts en | 1930 | | page 48