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The image contains a page of text from what appears to be an article or essay discussing the nature of art, particularly focusing on the influence of French culture and the concept of internationalism in art. Here's a detailed summary:

1. French Art and Culture:

   • The text emphasizes the belief that genuine art can only be created in France, particularly French art.
   • It mentions that French art is superior due to the reality and supremacy of French culture.
   • Examples of great artists like Hogarth, Constable, and Turner are cited, along with historical figures such as the Flemings, the Dutchmen, and Renaissance Italians.
   • It is suggested that artists divorced from their own culture tend to imitate the products of other cultures.

2. Internationalism in Art:

   • The concept of internationalism in art is discussed, noting that while art objects can be internationally appreciated, their creation is inherently local.
   • The text argues that there is no international ground for the creation of art; it is always tied to local environments and psychologies.
   • The author acknowledges that everyone except Americans understands this, implying that Americans uniquely seek international validation for their art.

3. Criticism of American Art Institutions:

   • The text criticizes American art controllers for clinging to their prestige and cheap interpretations of internationalism.
   • Examples include the Museum of Modern Art in New York, described as being riddled with cultural sicknesses and led by Alfred Barr, who is portrayed negatively.
   • The Barnes Foundation in Philadelphia and the Fogg Museum at Harvard are also criticized for their focus on French goods and provincial tastes.

4. Non-Objective Art:

   • The article touches on the debate over non-objective art, suggesting that intrinsically, there is nothing wrong with abstracting from reality.

Overall, the text presents a critical view of the American art scene, contrasting it with the perceived superiority of French art and culture, and discusses the local versus international nature of art creation and appreciation.

one discovers, of Parisian origin. To every Frenchman there is only one place in which genuine art can be fashioned, and that is France. For precisely this reason French art itself, at its best, happens to be truly great. It has come out of the sincere belief in the reality and supremacy of French culture. Through a similar faith in their own culture, Hogarth, Constable, and Turner are great artists, and so are the old Flemings, the little Dutchmen, and the innumerable Renaissance Italians. Divorced from his own culture, the artist is a lost soul and the best he can do is to imitate the products of other cultures.

The question of internationalism should be clearly resolved. On its face, it is a persuasive dogma emphasizing a proper sense of the worldwide significance of cultural standards, and a commendable desire to avoid chauvinistic idolatry of the German fascist type. And it is perfectly true, so far as appreciation is concerned, that objects of art are internationally sound; but in the matter of production, or creation, they are bound to local environments and psychologies. There is no international ground for the creation of art.

Everybody acknowledges this but the Americans. We are the only ones who go around looking for that which, by its very nature, can be found only at home, for that which can be understood and appreciated only by those who have experienced it at their own doorsteps. Unfortunately, the controllers of the art business still cling, for the sake of their own prestige, to the cheapest interpretation of internationalism—not the honorable exchange of cultural goods but the servility of American artists to European models.

There is, for example, the Museum of Modern Art, in New York, a Rockefeller plant riddled by cultural sicknesses. Its top intellectual—Alfred Barr, master of a style that is one part erudition and nine parts affectedness of the hothouse,—writes books on Picasso, the Red idol deified by the Parisian Bohemia that he rules, and on other such deadly phenomena. This museum is a glittering depot of exotic importations and the claptrap of a few culled Americans who have nothing American about them. The Barnes Foundation, of Philadelphia, is cut from the same pattern, a one-man monopoly specializing in French goods and notorious for its condemnation of everything done in the United States. The Fogg Museum of Harvard, rendezvous of an effeminate and provincial tribe, is still another such institution.

The question of non-objective art, over which so many silly battles have been waged, boils down to a few simple truths. Intrinsically, there is nothing wrong with the process of abstracting from

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'48 JUNE

The image shows a page from a document discussing art, specifically focusing on French and American artistic traditions. Here are the detailed observations:

1. Theme and Context:

   • The text criticizes the idea of internationalism in art, suggesting that art should reflect local cultures and environments.
   • It emphasizes that genuine art can only be found and appreciated within its own cultural context, particularly highlighting France as a place where French art reaches its highest potential.

2. French Art:

   • The author asserts that French art, at its best, is rooted in the sincere and deep cultural beliefs of French culture.
   • Artists such as Hogarth, Constable, Turner, Flemings, little Dutchmen, and the Renaissance Italians are mentioned as great examples of artists who are deeply connected to their cultural roots.

3. Critique of Internationalism:

   • The text argues that while internationalism in appreciation of art is valid, production should not be divorced from its cultural roots.
   • It warns against the tendency of artists to imitate the products of other cultures, which it sees as leading to a loss of authenticity.

4. American Art Context:

   • The author criticizes American art institutions, such as the Museum of Modern Art in New York and the Barnes Foundation in Philadelphia.
   • The Museum of Modern Art is described as having a collection that is a "glittering depot of exotic imports" and lacking a true understanding of local American art.
   • Alfred Barr is criticized for his style, which the author claims is a mix of erudition and an attenuated, Europeanized language.

5. Other Museums:

   • The Fogg Museum of Harvard is also mentioned as an example of a museum that still adheres to provincial and effeminate traditions.

6. Conclusion:

   • The document concludes that the issue of non-objective art is overblown and that focusing on cultural authenticity and local roots is crucial for genuine art.

Overall, the text emphasizes the importance of cultural authenticity and local traditions in the creation and appreciation of art.

The image displays a page from a document discussing art and cultural appreciation, specifically focusing on French art and internationalism in art. Here's a detailed summary:

1. French Art and Authenticity:

   • The text asserts that genuine art is uniquely fashioned in France.
   • It highlights that French art is great due to the sincere belief in the reality and supremacy of French culture.
   • Examples of great artists such as Hogarth, Constable, Turner, Flemings, Dutchmen, and Italian Renaissance artists are mentioned to illustrate the importance of cultural roots in art.

2. Internationalism in Art:

   • The text criticizes internationalism in art, which it argues is a persuasive dogma emphasizing the worldwide significance of cultural standards.
   • It warns against chauvinistic idolatry, particularly of a German fascist type, and acknowledges that objects of art are internationally appreciated.
   • However, it emphasizes that the creation of art is inherently tied to local environments and psychologies, making international ground for art creation questionable.

3. Critique of American Art Institutions:

   • The document argues that Americans are unique in seeking art that is inherently homegrown and understandable only to those who have experienced it at their own doorsteps.
   • It criticizes the art business for clinging to prestige through cheap interpretations of internationalism, rather than a genuine exchange of cultural goods.
   • Specific institutions are mentioned:
     • The Museum of Modern Art in New York, led by Alfred Barr, is criticized for its "hothouse" atmosphere and a lack of genuine cultural understanding.
     • The Barnes Foundation in Philadelphia is criticized for its one-man monopoly on French goods and its condemnation of American art.
     • The Fogg Museum of Harvard is also mentioned, described as an institution of an "effeminate and provincial tribe."

4. Non-Objective Art:

   • The text touches on non-objective art, suggesting that many debates around it stem from simple truths, and that abstracting from the process of art creation is fundamentally flawed.

The document concludes with a critique of American art institutions' tendency to focus on internationalism for prestige rather than genuine cultural exchange and understanding.

The image is a page from a book or magazine, discussing the concept of art and culture, particularly focusing on the French influence and the issue of internationalism in art. Here's a detailed summary:

1. French Art and Culture:

   • The text asserts that France is the only place where genuine art can be fashioned, highlighting the significance of French culture in producing great art.
   • It mentions that French art is considered great due to the sincere belief in the reality and supremacy of French culture.
   • Similar faith in their own cultures has led to great artists like Hogarth, Constable, Turner, Flemings, Dutchmen, and Renaissance Italians.

2. Internationalism:

   • The author discusses the concept of internationalism, emphasizing that it is a persuasive doctrine that stresses the worldwide significance of cultural standards.
   • It warns against chauvinistic idolatry, comparing it to the fascist type, and states that internationalism in appreciation of art is commendable.
   • However, it argues that the production of art is tied to local environments and psychologies, suggesting that there is no international ground for the creation of art.

3. American Perspective:

   • The text points out that Americans are the only ones looking for art that can be understood at home, emphasizing the importance of local culture in art appreciation.
   • It criticizes the American art business for its servility to European models and the cheap interpretation of internationalism.

4. Critique of American Institutions:

   • The Museum of Modern Art in New York is criticized for being a Rockefeller plant riddled with cultural sicknesses, with Alfred Barr being seen as a master of erudition and an attenuated lingo.
   • The Barnes Foundation in Philadelphia is noted for its monopoly on French goods and its condemnation of American art.
   • The Fogg Museum at Harvard is criticized for being a provincial institution.

5. Non-Objective Art:

   • The author discusses non-objective art, suggesting that despite many battles waged over it, there is no inherent wrong in abstracting from the process of creating art.

The text is dated June 1948, indicating that it was written in that year.

The image is a page from a written article dated June 28, discussing the nature of art, particularly French art, and the concept of internationalism in art.

Here are the key points summarized:

1. French Art and National Pride:

   • The author notes that French people take pride in the fact that genuine art can be cultivated in France, making French art at its best truly great.
   • The greatness of French art comes from a sincere belief in the primacy and superiority of French culture.

2. Artists and Their Cultures:

   • The author mentions notable artists from different cultures such as Hogarth, Constable, and Turner from England, and the Flemish and Dutch artists, highlighting that their greatness is tied to their cultural roots.
   • The author argues that artists disconnected from their own culture are lost and can only imitate others.

3. Internationalism in Art:

   • The article discusses the concept of internationalism in art, emphasizing that while the appreciation of art can be international, the creation of art is deeply rooted in local environments and psychologies.
   • The author critiques the idea of chauvinistic isolationism, such as that seen in German fascist ideology, and supports a balanced approach that appreciates international art while acknowledging local influences.

4. American Cultural Attitudes:

   • The author asserts that Americans are unique in seeking cultural validation from abroad, something intrinsic to their nature.
   • Criticism is directed at specific American institutions like the Museum of Modern Art in New York and the Barnes Foundation in Philadelphia for either promoting a diluted internationalism or being overly nationalistic in their approach to art.

5. Museum Critiques:

   • The Museum of Modern Art is described as a place that glorifies cultural sickness, favoring a style that mixes erudition with a watered-down version of European art movements.
   • The Barnes Foundation and the Fogg Museum are criticized for their narrow, provincial attitudes and for devaluing art from outside their preferred paradigms.

6. Non-Objective Art:

   • The author concludes by mentioning that the debate over non-objective art can be simplified to a few fundamental truths, implying that the intrinsic value of art should not be obscured by abstraction.

The overall theme of the article is the importance of cultural roots in the creation and appreciation of art and a critique of both blind internationalism and chauvinistic nationalism in the art world.

This image shows a printed page of text that appears to be from a book or article. The left side presents part of the text, while the right side appears to continue the narrative but is partially cut off due to the edge of the page. The content discusses the perception of art and cultural production, touching on themes like nationalism, authenticity, and internationalism. It references French art and artists, acknowledging that some cultures hold a distinct belief in the uniqueness of their cultural output.

The text raises concerns about the imitation of art from different cultures and the effects of internationalism on the authenticity of artistic production. Significant attention is given to cultural exchanges and the American perspective on international art and its appropriation. The narrative is critical of certain institutions and practices in the art world, mentioning the exploits of those involved in the American art scene, and references entities like the Museum of Modern Art in New York, the Rockefeller plant, and the Barnes Foundation of Philadelphia.

The bottom right corner of the page indicates that this text was printed in "48 JUNE," suggesting that it was published in June of the year 1948. The partially visible page number at the bottom left is "78."

Overall, the text seems to be a critique of art cultural exchange and the influence of nationalism on art creation.

The image is a scanned page from a book or magazine. The text is in black and white and is written in a formal, academic style. The text discusses the concept of internationalism in art and the idea that art is inherently local and tied to specific cultural and psychological environments. The author argues that while objects of art may be internationally significant, the creation of art is bound to local environments and psychologies. The text also critiques the trend of American artists imitating European models and the commercialization of art. The page is titled "48 June" and the number "78" is located at the bottom of the page.

The image shows a page from a book or publication, featuring a dense block of text printed in black serif font. The text is arranged in justified alignment, with even spacing between words and lines. The page number "78" is visible in the bottom left corner, and the date "48 JUNE" is noted in the bottom right corner, suggesting the publication or issue date. The content appears to be a critical or analytical essay discussing cultural and artistic themes, particularly focusing on the concept of internationalism in art. The passage critiques the idea of cultural universality, emphasizing the importance of local environments and psychologies in artistic creation. It also critiques institutions such as museums and foundations, highlighting their role in perpetuating cultural imperialism and the dominance of European models over American artists. The text is dense and scholarly, with a formal tone, and the page itself has a slightly aged appearance, indicating it may be from an older publication. The background is plain and neutral, ensuring the focus remains on the text.

The image shows a page from a book or document. The page is white and contains black text. The text appears to be an essay or article discussing the concept of internationalism in art and culture.

The essay argues that while internationalism can be a persuasive dogma emphasizing the worldwide significance of cultural standards, it is important to recognize that objects of art are fundamentally rooted in local environments and psychologies. The author suggests that true internationalism in art should not involve the imitation of other cultures but rather an appreciation of the unique contributions that different cultures can make to the global art world.

The essay also critiques certain art institutions and museums in the United States for their perceived lack of objectivity and focus on promoting French art and culture. The author argues that these institutions should instead celebrate the diversity of artistic traditions from around the world.

The essay concludes by stating that while internationalism in art is a worthy goal, it is important to avoid chauvinistic idolatries and to recognize that the creation of art is fundamentally a local and culturally specific process.