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The image is a page from a book or article discussing the attitudes of modern artists towards science and their approach to art. The text is accompanied by a black-and-white photograph of a sculpture titled "Crescendo" by Arthur B. Davies, created in 1910, which is housed at the Whitney Museum.

Key points from the text include:

1. Modern Artists and Science: The text discusses how modern artists, such as Alfred Stieglitz, John Marin, Marsden Hartley, Charles Demuth, Arthur Dove, Max Weber, and Joseph Stella, were antithetical to science, viewing it as a threat to art. They saw science as standardizing and dehumanizing, leading to a loss of individuality and spirituality in art.

2. Self-Sufficient Artists: These artists are described as self-sufficient, creating art without formal training or technical skill. Their work is likened to that of children or primitive art, expressing a state of mind rather than technical proficiency.

3. Search for Eternal Principles: The text highlights the artists' search for eternal principles and universal laws to establish a more modern academy. They believed that understanding these principles would allow them to create art that transcends personal likes and dislikes.

4. Dynamic Symmetry: The concept of dynamic symmetry, as discussed by Jay Hambidge, is mentioned. Hambidge's work aimed to create a scientific and universal basis for art, drawing on ancient Greek principles.

5. Pseudo-Science and Mysticism: The text criticizes the artists' reliance on pseudo-science and mysticism, noting that their search for eternal principles often led to strange and unfounded theories.

6. Influence of Ancient Cultures: The artists were influenced by ancient cultures, particularly Egyptian and Greek art, believing that these cultures held secret principles of art that had been lost.

The overall tone of the text is critical of the modern artists' rejection of science and their reliance on mystical and pseudo-scientific principles.

The document discusses the attitudes of modern artists and theorists towards science and art at the beginning of the 20th century. It highlights the tension between those who embraced science for its democratizing potential, like Upton Sinclair, and those who saw it as a threat to artistic freedom, such as John Marin and Vlamidimir de Maïakofski. The text also mentions Jay Hambidge and his followers, who sought to establish a scientific basis for art, focusing on dynamic symmetry and universal principles, often tracing these principles back to ancient Greek or Egyptian art. The author notes that many of these theorists were driven by a desire to create a more modern academy, but their search for eternal principles often led to impractical or magical thinking. The document is an excerpt from a larger work, with the beginning of a section titled 'MARCH' visible at the end.

The image is a page from a book titled "Crescendo" by Arthur B. Davies, published in 1910 by the Whitney Museum. The page contains an excerpt from Davies' text discussing the attitudes of modern artists towards science and the standards of art.

Key points from the text include:

1. Critique of Modern Art Attitudes:

   • Davies criticizes modern art movements for their reliance on subjective, intuitive methods and their disregard for scientific principles and standardization.
   • He argues that these movements often ignore the historical and technical standards of past artists.

2. Alfred Stieglitz and John Marin:

   • He mentions Alfred Stieglitz as an example of a modern artist who was anti-scientific, and John Marin, who believed science was a refuge from standards and judgment, thus making modern art chaotic and degenerate.

3. Jay Hambidge and Dynamic Symmetry:

   • The text discusses Jay Hambidge’s theory of dynamic symmetry, which he believed could provide a scientific basis for art. Hambidge and others like Maratta sought to apply mathematical principles to art.

4. Dynamic Symmetry:

   • Hambidge's ideas were embraced by several artists, including photographers and advertising agencies, who saw dynamic symmetry as a method to create more effective and aesthetically pleasing works.

5. Influence of Greek Philosophy:

   • Davies suggests that the search for eternal principles in art was influenced by the ancient Greek philosophy, which emphasized the use of mathematical laws and principles in art.

6. Denman Ross:

   • He highlights Denman Ross's motivation to create a scientific method for art that could distinguish between genuine and charlatan artworks. Ross believed that traditional methods were not foolproof and sought a more empirical approach.

The excerpt reflects a broader historical context of the early 20th century, where there was a tension between artistic innovation and the desire to ground artistic principles in scientific and mathematical laws.

The image is a page from a book or magazine, specifically page 100, dated March. The text discusses the historical and philosophical perspectives on the nature of science and art, particularly focusing on the attitudes of modernists and pseudo-scientific theorists.

Key points from the text include:

1. Modern Attitudes: The author critiques the modern insistence on the supremacy of individual intuition and methods, which is seen as incompatible with pseudo-scientific theories. This attitude is exemplified by figures like Alfred Stieglitz and John Marin, who viewed science as vulgar and exalted art.

2. Science and Art: The text contrasts the views of Ross and Maratta, who saw science as a safeguard against artistic hazard, with those who viewed science as a refuge for standards and judgments. The author mentions that modern art often appears chaotic and degenerate to these observers.

3. Dynamic Symmetry: Jay Hambidge, known for his work on dynamic symmetry, is discussed. Hambidge's ideas were seen as a return to a more scientific approach to art, emphasizing the use of geometric principles to achieve harmony and balance.

4. Criticism and Revolt: The author notes that Hambidge and others like Maxweel Armfield were considered progressive forces within the art movement of their time, rebelling against what they saw as the chaotic and personal nature of modern art.

5. Universal Principles: The search for universal principles in art is discussed, with references to the rediscovery of ancient principles by Greeks, which were lost during the Renaissance and were rediscovered through academic derivation and empirical methods.

6. Pseudo-scientific Theories: The text criticizes the pseudo-scientific theories of the time, suggesting that they often lead to magical formulas and a panacea for any situation, rather than true understanding.

7. Ross's Motivations: The author speculates that Ross might have been motivated by the idea of creating a scientific method for art, similar to the empirical methods used in workshops, but also influenced by the desire to rediscover and understand the principles of art that were originally known by the Greeks and later lost.

The text is accompanied by an illustration of a painting titled "Crescendo" by Arthur B. Davies, dated 1910, which is part of an oil painting collection at the Whitney Museum. The painting features a group of figures in a somewhat abstract and dynamic composition.

The image is a page from a book or magazine article discussing the history and philosophy of art and science. The text is from a piece titled "Crescendo" by Arthur B. Davies, published in 1910, and is part of a collection from the Whitney Museum. The main points of the article seem to focus on the changing attitudes towards art and science at the beginning of the 20th century.

Key points from the text include:

1. Attitude Towards Science and Art:

   • Moderns insisted on the supremacy of the individual and intuitive methods, which was contrary to the pseudo-scientific theorists who believed in science's standardization and democratization tendencies.
   • The attitude towards science was polarizing, with some like Alfred Stieglitz being anti-scientific, while others like John Marin embraced science as a safeguard against vagaries of intuition.

2. Ross and Hambidge:

   • Jay Hambidge and others like Ross criticized modern art for being chaotic and degenerate, attributing this to a lack of understanding of past art ideals and technical standards.
   • Hambidge believed that art should be based on scientific principles and universal laws, rather than individual expression.

3. Dynamic Symmetry:

   • Hambidge's concept of dynamic symmetry was seen as a way to create art that was universally understandable and based on nature's laws.
   • He believed that this approach could democratize art, making it accessible to a wider audience.

4. Criticisms and Responses:

   • Critics like Maxwell Armfield argued that Hambidge’s approach was too rigid and not in line with the modern tendencies towards individual expression.
   • Hambidge's followers believed that dynamic symmetry could be applied across various fields such as advertising, photography, and architecture, creating a more systematic approach to design.

5. Egyptian Influence:

   • The article mentions that the search for universal principles in art was inspired by ancient Egyptian methods, which were believed to have been rediscovered and developed by the Greeks.

6. Maratta's View:

   • Denman Ross and others like Maratta were motivated by the idea of creating a scientific method for art, drawing inspiration from ancient Egyptian principles.

The text is rich with historical context and critiques, illustrating the tension between traditional and modernist approaches to art and science during this period.

The image is a page from a book or article discussing the artistic movement known as "Crescendo," authored by Arthur B. Davies in 1910, illustrated with a series of photographs showing dynamic human poses.

The text on the page critiques the attitudes of modern artists towards science and individualism. It highlights the views of artists such as Alfred Stieglitz, John Marin, Marsden Hartley, and Arthur Dove, who were associated with the modern art movement and were skeptical of applying scientific methods to art.

Key points include:

1. Modern Attitudes: The modernists insisted on the supremacy of the individual and intuitive methods, which clashed with pseudo-scientific theoreticians.
2. Alfred Stieglitz: His views were antithetical to science, believing science and art should remain separate.
3. John Marin: In 1913, Marin expressed that the objective of art is to make things vibrant and alive, not to be constrained by scientific analysis.
4. Marsden Hartley: Hartley wrote about dynamic symmetry in art, suggesting that modern art should rely on intuitive rather than scientific methods.
5. Arthur Dove and Historical Context: Dove believed that artists should not follow strict technical standards. The text also mentions that many artists of the period rejected traditional methods in favor of exploring new forms of expression.
6. Dynamic Symmetry: The discussion touches on the idea of dynamic symmetry, which was promoted by Jay Hambidge. However, modern artists like Hartley and others criticized it as a mechanical and sterile approach.
7. Ancient Art: The text compares modern artists' approaches to those of ancient cultures, such as the Greeks and Egyptians, who were believed to have used more intuitive and magical methods rather than strict scientific principles.

The page concludes by mentioning Denman Ross, who sought to create a scientific method for art, but whose approach was seen as overly systematic and lacking the intuitive essence of true artistic expression.

This image shows a printed page from a publication or a book. The page features an article with the title "CRESCENDO" by Arthur B. Davies, 1910, an oil painting, as indicated by the text at the top under the artwork's reproduction. The painting appears to depict several figures, likely nude, in a mountainous or hilly landscape, dancing or engaging in some form of procession against a dark sky.

The page seems to be discussing various topics related to art, science, and philosophy. For example, there is mention of artists like Maxfield Parrish and scientific figures such as Alfred Stieglitz. It addresses themes such as the purity of art, the influence of science on the perception of art, and the quest for immutable laws in creating lasting works.

Included on this same page, separated by what looks to be a torn edge, is a piece of another page with similar font and print style, suggesting it's from the same publication. It includes words that seem to be part of a separate discourse regarding the quest for scientific and universal principles in art, referencing Greek temples and the Renaissance, and aspects of universal laws or truths as they relate to creativity and structure in artistic works.

The torn edges and overlapped pages suggest this might be from an old book or journal, possibly related to art theory or history, and it looks like the pages were intentionally arranged this way, adding to the contextual depth of the discussion.

Lastly, there is a visible 'check' mark or 'tick' on the top right of the main page, potentially indicating that someone has marked this page as significant for reference or review.

The image shows a printed page featuring a black-and-white reproduction of an artwork at the top. The artwork depicts seven nude figures positioned in a row, set against a background with a dark horizon and mountain-like shapes. The caption to the left of the artwork identifies it as "CRESCENDO" by Arthur B. Davies, painted in 1910 with oil on canvas, dimensions 18 x 40 inches, and held by the Whitney Museum.

Below the artwork, the page is filled with dense text, likely from an article or essay discussing themes related to art, science, and symmetry. The page number "100" is visible at the bottom left, and the month "MARCH" is printed at the bottom right. The page has some creases and a small black mark at the top and bottom center. A small portion of another page is visible above, tucked behind the main one.

The image appears to be a page from a book or magazine, featuring a black and white photograph of three nude women in a dynamic pose. The image has a vintage or historical feel to it. The text on the page discusses the work of various artists and thinkers, including Arthur B. Davies, Jay Hambidge, and Maxwell Armfield, who explored the concept of dynamic symmetry in art. It also mentions the ideas of John Marin, who warned against the dangers of modern art and the loss of traditional artistic standards. The text critiques the modernist attitude of prioritizing the individual and intuition over scientific and universal principles, and how this led some artists to seek secret knowledge and magical rules. The image and text together seem to explore the tension between modern and traditional approaches to art and design.

The image depicts a page from a book or magazine featuring an article about the elements of dynamic symmetry. The article is written by Arthur B. Davies and was published in 1910. The page includes a photograph by Arthur B. Davies, which is a black-and-white image of four nude figures in a dynamic pose, suggesting movement and symmetry. The text is printed in a serif font and is accompanied by a photograph of the author, Arthur B. Davies, in the upper left corner. The article discusses the concept of dynamic symmetry and its application in art and design. The photograph and the text suggest that the article is about the exploration of symmetry and movement in art.