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TOOTHY of and Methods of Warfare of Different Coun- Matists! and Corruption

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TOOTHY of and Methods of Warfare of Different Coun- Matists! and Corruption THE DAILY WORKER, NEW YORK, SATURDAY, MAY 12, 1928 Page Five ELLIS OUTSTANDING Hugo Geilert's Cover Design for “Red Cartoons” ! The STOCK EXCHANGE IN “RED CARTOONS” OF ART-MODEL 1928 RED CARTOONS, 1928. by need hardly be Edited added that Ellis never By art even has its Walt Garmon. With introduc- has and probably will receive MICHAEL WEBB. The industry an never middle-men leap from tion by Robert Cover De- the Pulitzer prize for the best who “poverty” Minor. cartoon MODERN painting is organized on to riches, like the obscure boys who sign by Hugo Geilert. Daily of year.) Work- the a commercial basis, "like the cleaned in the bull market er Publishing Co. I say that Ellis’ work has up recent sl. should jproduction and sale of pictures,” ac- in New Yolk. Thus Andre Salmon something more than a touch of geni- Reviewed by A. B. MAGIL. i cording to Louis Lozowick, the well the French critic has a us. And he is something more than a art collection jknown left wing artist, who has just worth millions. Fis did not THE publication of the annual book great political cartoonist. He is a “shares” | returned from Paris. Lozowick cost him a cent, since is the of Red Cartoons should be an event revolutionary artist who in a society it. custom stopped off in Paris on his way home painters, in the life of our movement. It has in which even revolutionary art rarely of unknown French whose ¦ from the Soviet Union, where he ex- are future, pre- been noted often enough to have be- escapes some taint of the febrile es- prospects all in the to hibited some thirty of his drawings sent critics with of their work. come a commonplace that the revo- theticism of the dominant bourgeois samples lutionary and collected considerable material Now many of the painters who gave movement in this country, class, has retained the simplicity, the on the theatre and other weaknesses vigor, the massive of the Soviet cinema. Salmon gifts during the twenty years whatever its and in- creativeness He reports the and adequacies, has been unusually revolutionary proletariat. And it is that workers’ of his activity as a critic have fame fertile peasants’ government gives the art- while in powerful Some put this which makes Ellis in certain as- Salmon has a fortune. artists. have : ist every encouragement, and that it: funny how all the best pects his art greater than any of an really cartoonists of Moscow publications pay well for the What artist like Picasse seem to have been cornered by his contemporaries. Gropper, for ex- J western art industry the drawings they use. Art Soviet thinks of the Reds. But this more versatile, more | in the is putting it the wrong ample, a much said, function,, i 3 hard to say, but Lozowick reports subtle artist, almost esthete | Union, he has a social seems an subject speculation that he is friendly to the revolution- beside him. There is nothing of Grop- I and is not to by private dealers. In Paris the level ary working class movement, and per’s intellectual restlessness, the con- 1 that every evening he tunes in his between lyricism and satire, in of talent among painters is higher, flict the in radio in his Paris studio to the Mos- Ellis. seems by compar- but artist is a “wage-slave” Ellis stolid huge cow wave length so that he can hear ison. is the stolidity of a commercial machine that has But it assur- its the Kremlin chimes. ance and strength rooted deep, the art factories, advertising agents, stolidity that shakes worlds the middle-men, and speculation like any beaten, groping stolidity of the work- jother commodity under capitalist “Smash the Frame-up!” ingclass struggling inexorably to its methods of production. power. * • • • • • Ellis is the most “proletarian” of A young artist in Paris, Lozowick all American revolutionary artists. reports, begins his career by turning His best cartoons are usually vivid his paintings over to a “marchand” dramatizations of simple mass emo- or dealer whose business it is to tions. Hate and love, ridicule, pity—- create a market for the artist’s work, these are his stock in trade. Strikers j By exhibitions, critical articles, wire- have referred to scabs as “rats” for pulling, gossip and other methods years. Ellis has taken this simple, I of publicity the artist’s work gains obvious idea and built out of it what a reputation and his pictures go up is perhaps the most powerful cartoon in price; and the art dealer cashes in the entire volume. The drawing in. Meantime, the artist works on shows an el train in the back-ground assignment. He must furnish a spe- and a huge sign: “I. R. T. Strike- I cified quantity of pictures a month. Breakers Apply Here.” Facing the Painting has become so robotized sign, with backs to the foreground that pictures are referred to in the and slimy tails sticking out, is a hord trade as “numbers.” The artist un- j of rats. And the perfect caption: lertakes to supply 10 or 15 numbers I “To Take the Place of Men.” within a given period of time. As j MANYNOTED FRED ELLIS The effect of this cartoon is like a his market widens, the money he re- j whip across the face. Bitter and ceives for his “numbers” increases, !j WRITERS IN way. It is not the Reds that have sardonic, the entire class struggle is Ditto for the “marchand’s” profits. cornered the best cartoonists, but the presented in a flash. The bitterness The dealer is in the position of a Reds that have given them the stuff of this picture holds the secret of capitalist who obtains a concession “DEFENDER” of which the best cartoons are made. Ellis’ peculiar power. It is what I in an undeveloped country for next The class struggle has made Minor, mean when I say that he is the most to nothing; as his sales increase, his “proletarian” all PH. D. SEES THRU GLASS EYE to announcement just Ellis and Gropper what they are. And of our revolutionary DARKLY profits, dividends and shares go up. cartoonists. It is as a RECORDINGmade, June number the publication of a collection of car- tragic rather People who buy paintings may or the of the thafi artist Ellis toons that have grown out of the class satiric that touches may not get “aesthetic” pleasures Labor Defender, a special Mooney- struggle is therefore an event, an im- greatness. And he has the capacity Studies Communist Activities But Trees Hide the Woods out of them; but what is most in- Billings issue, will include articles by portant artistic event in the life of of lifting himself up to crucial and tense is the speculation. They "in- our tragic in the of writers of international reputation. movement. moments life the vest” in a young artist as they would * * * as (COMMUNIST) there is the now famous incident of a For remembered, workingclass in his magnificent THE WORKERS’ it must be Schnei- in a new plant; invest- In answer to a cabled request by Sacco-Vanzetti (These PARTY AND THE AMERICAN certain wire sent, or supposed to have der says and the little Red Cartoons, 1928, is the third of drawings. have byway of elaboration, that ors follow the big investors, just like the editor, Henri Barbusse, noted the annual collection of drawings from been included in .a separate volume.) TRADE UNIONS. By David M. been sent, at the Boston 1925 emer- “the Workers’ (Communist) Party, • * • the lambs on the New York stock French Communist author, writes on the pages of The DAILY Schneider, Ph.D. Johns Hopkins gency convention of the furriers, “by which directs the at- WORKER. Not only the tragedy of the exploit- Communist exchange trail the bears and bulls.[ | another bloody fascist crime, the By far the greater part of it is de- University Press. $1.25: C. E. Ruthenberg, secretary of the tempts to penetrate ed workers, but their power, into the Ameri- Some time ago the American million- Sozzi murder. Fremont Older, edi- voted to the work of Fred Ellis, who hidden Workers’ Party of America, to Wil- can trade unions, the of their loom Reviewed by JOHN L. SHERMAN. in under control of aire Barnes (of Philadelphia) pur- tor of the San Francisco Call, who during the past year menace insurrection liam Weinstock, a reporter at con- ...” has become the large the the Third International. This chased a score of paintings by the has been, connected with the Mooney- in the drawings of Ellis. The has here .” regular staff cartoonist of The DAILY «rOMRADE” SCHNEIDER vention to the Daily Worker. the Chinese peasant rises with is main reason for the failure. Russian painter Soutine, who works Billings case since 1916, contributes WORKER. The other ' artists repre- pitchfork made the grade. (page 79). And where did Schneider carry on betrayed That Beckerman and “Frenchie” in Paris. Up to that time Soutine the leading article. James P. Can- sented William Gropper, to the revolution, one of the get information that at time are Hugo and Nicaraguan A union card in skilled the the might have had something to do with was not a “figure”; his art was curb non, national secretary of Interna- Geilert, Burck, Becker, the dies with his fist sneezed of the of the so-called Com- Jacob Maurice towards the plane crafts is surely not to be at. activities developments is perhaps unknown stock; Barnes’ purchase landed him tional liabor Defense, writes an inter- William Siegel, M.
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