Henry David Levine we can readily discern from his portraits and figures, an extraordinary draughtsman. In the reaches of his tradition resides Pope's dictum that 'the proper study of mankind is man', one of the painful considerations that seem to have been blotted out in our epoch of burgeoning technology. Levine, without all the cacophony and burdensome harangues that characterize many aspects of the 'counter cultures' and 'revolutionary rhetoric', has illumined the important tenet that men do make history, history does make men and the accompanying joys, sorrows and passions are the stuff we're made of. Levine sees people as people, but always larger than life. He sees them in their strengths, fantasies, perversions, schemes, outrages and nobilities, all in the full three-dimensional role they play on the shifting stage of history. A symbol, yesbut Levine's intense obser vation of character sees the human being within the larger symbol. There he is, there she is, emotionally naked, living, loving, breathing, divining, boasting, plotting, praying and dying among the cold type columns of finely-fashioned words. Levine puts his character in an act that radiates another dimension of intellectual refinement. The final equation is finely crafted crystal whose surfaces reflect the man, the moment and the deed and his mark on time's surface. Levine, a modest man, quickly makes a distinction between his aesthetic problems and those of the artists of previous eras. For one, Levine says he enjoys the largesse of a tradition, and moreover his drawings are in a sense reactive to a given, precisely critical thesis rather than a self-generated response to the issues of the day, although he does much of the latter. His drawing technique, deriva tive of the 18 th and 19th centuries, surprisingly enough was not designed to give his drawings the manufactured flavour of those periods. Levine draws in this manner to assure a reproduction most faithful to his original drawing quality. It is one of the paradoxes of modern newspaper printing technology that while speed and output have increased multifold, certain facets of quality are still not much better than they were for earlier genera tions. Yet somehow the technique seems to be just [Continued on page 57o] 7) Henry James 8) Stephen Crane 9) Marianne Moore 10) Ernest Hemingway 11) Vladimir Nabokov James 1 tu a 0 I Lehiatz:

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