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This image displays a two-page article spread from a magazine, specifically pages 66 and 67 of the June 1948 issue.

The article is titled “IS AMERICAN ART DEGRADED?” and is written by Thomas Craven.

Page 66 (Left Page):

• Header: Features a small line-drawn caricature of the author, Thomas Craven, next to the byline “By THOMAS CRAVEN”.
• Main Title: “IS AMERICAN ART” in large, bold, sans-serif typography.
• Subhead: “Yes! A noted critic attacks extremism • No! Six defenders” — suggesting a debate format.
• Body Text: The article begins by discussing the controversy surrounding the U.S. War Assets Administration’s attempt to sell a collection of modern paintings that was originally intended to showcase American culture abroad. It recounts how Secretary of State George C. Marshall halted the collection’s overseas tour (to Prague) and ordered the paintings impounded. Craven criticizes the art as derivative, uninspired, and unworthy of representing American culture — citing “neurotic platoons of contemporary painting, the neo-abstractionists, the non-objectivists, and their abortive creations” as examples of art that fails to reflect American spirit or originality.
• Author Bio: At the bottom left, a brief biographical note identifies Thomas Craven as a noted art critic, leader of the School of Paris followers, and author of influential books such as Men of Art, Modern Art, and A Treasury of Art Masterpieces.
• Page Number and Date: “66” at the bottom left and “’48 JUNE” at the bottom right.

Page 67 (Right Page):

• Continuation of Title: The title finishes with “DEGRADED?” in the same large, bold font.
• Subhead: “of modern art strike back.” — implying the article also presents counterarguments to Craven’s position (as hinted on page 66).
• Sidebar Text: A vertical box on the right contains a brief editorial note:
  “Styles in painting should be a matter of taste. But today this perennial controversy is a matter of state.”
• Body Text: Craven continues his argument, asserting that American artists have the capability to produce great, original art — pointing to achievements in literature and folk art as proof. He rejects the notion that America is too young or culturally immature to produce enduring art, and laments the current trend toward “abstract” and “non-objectivist” styles, which he feels are a rejection of American aesthetic potential. He concludes with a rhetorical question: “Why is it that no substantial body of American art exists today?”
• Page Number: “67” at the bottom right.

Overall Context:

This is a polemical essay from the late 1940s, written at a time when American modern art — particularly Abstract Expressionism — was gaining international prominence, but also facing significant criticism from traditionalists and cultural conservatives. Craven’s piece reflects tensions within the American art world between champions of modernist “abstraction” and defenders of representational, figurative, and “American scene” styles. Although the subhead promises “Six defenders” to counter Craven, only his sustained critique is visible in these two pages.

Physical Characteristics:

• The pages are printed in black ink on aged, slightly yellowed paper.
• The layout features justified text with serif body type and a clean, classic 1940s magazine design.
• A red handwritten annotation (“1257”) appears in the top left corner, likely a cataloging or inventory mark from a library or archive.
• Three small punch holes on the left margin suggest the pages were once bound or stored in a binder.

In summary, this is a historically significant article critiquing the state of modern American art in 1948, from the perspective of a prominent traditionalist art critic, Thomas Craven, published in a mass-market magazine format.

The image shows two pages from a publication discussing the topic of American art. The left page is titled "Is American Art" and is written by Thomas Craven. The article critiques the War Assets Administration's efforts to sell a collection of modern paintings intended to showcase American culture. Craven describes the paintings as "neurotic platoons of contemporary painting" and "imitative abstractions and boneless distortions," suggesting they were not representative of American culture. The text mentions the collection's journey to Prague and its return due to Secretary Marshall's decision.

The right page is titled "Degraded?" and continues the discussion on the state of American art, questioning whether it is in decline. It emphasizes the importance of art reflecting the spirit of America and the challenges faced by American artists in producing original, expressive, and reflective art. The text also touches on the lack of a substantial body of American art and questions if it is due to provincialism and the tendency towards abstract art. Both pages are from the year 1948, as indicated by the date "48 JUNE" at the bottom of the left page. The style is typical of mid-20th-century magazine or newspaper articles, with a focus on critical commentary.

The image shows two pages from a printed article titled "Is American Art Degraded?" by Thomas Craven. The article appears to be from a publication dated June 1948.

Left Page:

• Title and Subtitle: The title "IS AMERICAN ART" is prominently displayed in bold, large font. Below it, a subtitle reads, "Yes! A noted critic attacks extremism • No! Six defenders."
• Author Information: At the top left, there is a small illustration of a man in a suit and tie, presumably Thomas Craven, with the text "By THOMAS CRAVEN" next to it.
• Article Content: The article discusses the War Assets Administration's collection of modern paintings and the controversy surrounding them. It mentions Secretary Marshall's decision to halt the progress of the collection and return the canvases.
• Biographical Note: At the bottom left, there is a biographical note about Thomas Craven, stating that he has been a critic of art and chief gadfly of followers of the School of Paris for many years. It mentions his books: "Men of Art," "Modern Art," and "A Treasury of Art Masterpieces."
• Page Number: The page number "66" is at the bottom left.

Right Page:

• Title and Subtitle: The title "DEGRADED?" is prominently displayed in bold, large font. Below it, a subtitle reads, "of modern art strike back."
• Article Content: The article continues, discussing the question of whether American art can produce an art of its own that reflects the native spirit of America and is comparable to its literature in originality and expressive force.
• Sidebar Text: On the right side, there is a sidebar with additional text. It discusses the idea that styles in painting should be a matter of taste but is now a matter of state. It also mentions the need for mature confidence and independence of spirit essential to the creation of original art.
• Page Number: The page number "67" is at the bottom right.

The article appears to be a critical discussion of contemporary American art, questioning its originality and cultural significance.

This image is a double-page spread from a magazine featuring two articles. The left page has a bold title "IS AMERICAN ART DEGRADED?" with a portrait of a man, likely Thomas Craven, the author of the article. The article discusses the state of American art, questioning its quality and originality. The right page has a title "DEGRADED?" and features a continuation of the discussion on American art, focusing on the impact of modern art and the role of the government in promoting or hindering artistic expression. Both pages contain text in a cursive font, with the right page having a more serious tone.

The image depicts two pages from a magazine or newspaper, featuring an article about American art. The article is titled "Is American Art Degraded?" and is written by Thomas Craven.

The left page contains a portrait of a man, presumably Thomas Craven, and the title of the article. The text below the title reads, "Yes! A noted critic attacks extremism • No! Six defenders of modern art strike back." The article discusses the controversy surrounding modern art and whether it can be considered American art.

The right page continues the article, with the text discussing the impact of modern art on American culture and the debate over its value and significance. The article also touches on the role of government and institutions in supporting and promoting modern art.

Overall, the image presents a thought-provoking discussion about the state of American art and the ongoing debate over its definition and significance.

The image shows two adjacent pages from a publication, likely a magazine or journal, discussing the topic of American art and its contemporary state. Here is a detailed description:

Page 66: "IS AMERICAN ART"

• Title: "IS AMERICAN ART" is prominently displayed at the top, with a subheading: "Yes! A noted critic attacks extremism • No! Six defenders."
• Illustration: On the left side of the page, there is a black-and-white illustration of a man in formal attire, standing with his hands in his pockets. The illustration is labeled "By THOMAS CRAVEN."
• Content: The text begins with a discussion of modern art collections, referencing the War Assets Administration and its sale of "strange commodities" to the public. It mentions a collection of modern paintings that was sold for $9,000, which was deemed a "lofty mission" by some, but the Secretary of State halted its progress due to concerns over its artistic merit.
• Key Points:
  • The article critiques modern art as "neurotic platons of contemporary painting" and "abortion creations."
  • It highlights the controversy surrounding modern art, with Secretary Marshall being described as a "commissar of painting" who wisely halted the sale.
  • Thomas Craven is introduced as a critic of modern art, known for his books such as Men of Art, His Best-Known Books for Many Years, Modern Art, and A Treasury of Art Masterpieces.

Page 67: "DEGRADED?"

• Title: The page is titled "DEGRADED?" with a subtitle: "of modern art strike back."
• Content: This page continues the discussion on modern art, presenting a counterargument to the critique from the previous page.
• Key Points:
  • The author reflects on an exhibition at the Metropolitan Museum, expressing disappointment with the collection and the State Department's handling of it.
  • The author argues that modern art, despite its perceived flaws, is a reflection of American culture and experiences, and that it is comparable to literature in its originality and expressive force.
  • The text emphasizes the maturity of American artists and the public's support for modern art, stating that America has produced exceptional artists and that the nation has more students attending art schools than any other country.
  • The author challenges the notion that American art is "too young" or "provincial," asserting that the nation has a substantial body of American art and that its future is promising.

Overall Context:

• The two pages represent a debate on the state of American art, with Page 66 presenting a critical perspective by Thomas Craven, who argues against modern art as "degraded" and lacking in cultural significance.
• Page 67 offers a rebuttal, defending modern art as a legitimate and evolving expression of American culture, emphasizing its originality, public support, and potential for growth.

The layout is typical of mid-20th-century publications, with clear headings, illustrations, and structured text. The debate reflects the broader cultural and artistic discussions of the time, particularly around the legitimacy and value of modern art movements.

The image shows an open magazine or newspaper article spread over two pages. On the left page is a larger heading that says "IS AMERICAN ART", followed by a subheading "By THOMAS CRAVEN". Below these, there is an enlarged beginning of the article that provides a bold statement, "Yes! A noted critic attacks extremism • No! Six defenders". The text of the article begins below this, starting with "OF ALL THE STRANGE commodities which the War Assets Administration has been called upon to sell, the 'strangest certainly is the collection of modern paintings originally intended to give people a broad view of American life...". The page number at the bottom is "66".

The right page features a heading saying "DEGRADED ?" followed by a subheading "Styles in painting should be a matter of taste. But today this perennial controversy is a matter of state." The article continues on this page, discussing various opinions on modern art. There is another text box that starts with "After observing the trials and errors of art in the United States for more than thirty-five years...". The page number here is "67".

The newspaper or magazine piece seems to be exploring the topic of American art and its perception, value, and controversies surrounding its extremisms and modern styles. There is a sense of a debate or argument, as indicated by the words "attacks extremism", "defenders", "DEGRADED?", and the inclusion of controversy over modern art's validity and appreciation.

The image shows an article titled "Is American Art Degraded?" by Thomas Craven, which appears to be from a magazine or publication dated June 1948. The article is a critique of contemporary American art. It includes a small caricature sketch of the writer at the top left corner (with the face obscured in this version) and divided columns of text discussing American art, its direction, and criticism. There is an excerpt highlighted on the right page reading:

"Styles in painting should be a matter of taste. But today this perennial controversy is a matter of state."

Handwritten marks, including underlining and a red arrow, are visible near the caricature on the left page. Both pages have numbered sections: 66 and 67. The piece is addressing debates about the value, originality, and state influence on modern American art, with references to prior bureaucratic decisions and cultural growth.

This image shows two pages of a printed article by Thomas Craven titled "Is American Art Degraded?" The subtitle states: "Yes! A noted critic attacks extremism • No! Six defenders of modern art strike back."

The left page begins the article, discussing the War Assets Administration's decision to sell a collection of modern paintings originally used to showcase American culture abroad. It mentions the collection reaching Prague but being halted by Secretary Marshall, who ordered the canvases returned and impounded. The article critiques contemporary painting styles, including neo-abstractionists and non-objectivists, and laments the loss in quality and taste. The right page continues with a reflection on American art's originality, criticizing it for being overly provincial and obsessed with abstract drivel.

There is a sidebar on the right page with a quote:
"Styles in painting should be a matter of taste.
But today this perennial controversy is a matter of state."

At the bottom of the left page, a brief bio notes Thomas Craven as a critic and author of several art books.

The pages are numbered 66 and 67, and the article dates to June 1948. The text is in a classic serif font, laid out in columns. The visual condition suggests the pages are from a vintage magazine or journal.

The image shows a two-page spread from a vintage magazine or newspaper, laid flat.

• Left page: An article titled “IS AMERICAN ART” by Thomas Craven. A small illustration of a person’s head sits near the top left, with part of the image obscured (blacked out). The page features dense newspaper-style columns of text and a subheading that hints at a debate among critics (“Yes! A noted critic attacks extremism • No! Six defenders”). The bottom corner shows page number 66 and a date mark that looks like June 1948.

• Right page: A related piece with a large headline “DEGRADED?” followed by “of modern art strike back.” A vertical divider and a column of text continue the discussion, including a side note about styles in painting (“Styles in painting should be a matter of taste...”). The bottom corner shows page number 67.

Overall, it’s a mid-20th-century editorial spread about American art and modern art criticism.