who see beyond the conventional confines of the older art into the new field of mer chandise. These men believe that a tin con tainer should be as beautifully and as care fully designed as a precious jewel case, and that all commodities, whether they fall into the luxury or the everyday class, should be so considered. 2 Now as to the "new artist." What is his mental make-uphis philosophy? The ideal artist of this sort should combine in himself the eyes of a painter, the sensitive ness for shape of a sculptor, the love for materials of a craftsman, the feeling for con struction of an engineer, together with a knowledge of the aesthetic possibilities of new materials. He differs from the "fine arts" artist very decidedly; he seeks no refuge from life. He is not interested either in portraying existing beauty he finds in nature or in picturing his dreams on a canvas. Quite on the contrary, he wants his dreams to come true; he wants to build up a new world where every little thing is pleasingly shaped and which tells not only of efficiency but of love and care as well, such a world as existed for centuries in old China before the big wall was broken down by the inferior European civilization. He is a lover of life in all its phaseshe knows how to appreciate the natural beauty of a piece of stone and how to bring out the intrinsic aesthetic quality of a sheet of cork or a plate of steel. 3 It seems to me that a great part of the credit for this movement must go to the ad vertising agencies. Not that they sponsored it for entirely idealistic reasons. In many LIGHTING FIXTURE BY BRUNO PAUL 35

Advertising Arts en | 1930 | | page 49