SCARLET AND BLACK

January [4. I955

 

 

Scarlet and Black

GRINNELL COLLEGE

Gnunell. [own

A weekly “z“unller nuhliahcd ouch rriduy oi Kile (allege yelr by “I: Grin»
acll Board oi ll’ubh lions, licnyon hncpl. President oi the n ard. hlcmhu
of Associuled c cgniii- pron. llcpremniud (o. nuiionul mlveri M: by Nulionui
Adherlisxug 5m c Inc. Collcgc Puhllslwn Replewnlnlilc, Madison Aim,
Now York. N. nicrcil mi second-class niilicr at ihc posi nil ni ominclh
lawn llndcr Kile art oi March 3, lm. Suhscrnmon rule: :2 on school .

sighed hriiclca und odiiorinls do iioi necessarily reflect lhe opiulonw r policies
oi lllis newsnnpcr or oi crinncll collage. Unsigned cdilorinls relics: the

opinion: at the :an“.
Editor ..Nauoy Oates
rry To u

Business manager
Oil-Associate Editors . Chuck Stegmeir
Ernie Gershon

Copy Editor .
Prool Editor
Headline Editor .
Art Editor ..
circulation Man i;

A Bookstore...... Where .7

When wandering by the hideous anachronism that
represents Grinnell college to all who travel down Highway
Six, we noted a spark of life the other day. Two workmen
on the second floor of Blair were hurling relics into a truck
Waiting below with thinly disguised gusto. One of the men
confided that it was rumored that the bookstore and stu-
dent post office might be moved to these ”new” quarters.

Assuming the rumor to be based on wishful thinking,
or at least thinking, we’d like to state that though we’ve
never contemplated buying our Va] and. Virgil in so dis-
tinguished a setting as Blair, we welcome the rumor that
some one of the powers that be recognizes the inadequacies
of the present bookstore

Though the lack of space in the present bookstore is
annoying (as any student who has been swept down the
bookstore steps like a piece of livestock through a stock
yard gate can testify), there is a far more serious inade-
quacy,

We badly need a used book depot. Since we do not
imagine that the bookstore would welcome the idea of hous»
ing competition within the deep, nor do they have facilities
to do so, if they found it feasible, we strongly recommend
that the Student Council or some service organization set
up a used bookstore withvpermanent quarters.

This would enable the student to cut down the now pro-
hibitive amount spent on books, and to sell his books at
a reasonable price. It would further dispense with worry-
ing that the minute his back is turned, the books needed
will be rushed back to New York

Dick Cervene Combines Unreal Color,
Porirayal of Real Emotions, in Work

by Norman Springer .
A portrait of a clearly recognizable young man in a
white coat appears in the 16 picture exhibit by Richard
Cervene now on view in Main hall. In the portrait we get a
lucid demonstration of Cervene working in a more tradi-
tional manner than in most of his other pictures. Though
the portrait seems to be clearly different from most of the
other work it is an excellent “way into” his abstractions.

Tourniquei

by Peter Moore and George
Simon

It seems that whenever man
has embraced an idea. his joy
is never so great as when he
shares ii with another. Unfor-
tunately the recipient is not al-
ways too receptive, and the gift
must be shared ai the expense
of the giving spirit.

Thus, ior example, omis—
tianity grew at the expense
oi its original spirit as voiced
hy Jesus, taking on a charac-
ier which more eiicciivciy
distributed the gills of the
Church. We have oiicn seen
others so unimpressed with
our ideas that it has required
time and tom to demonstrate
the nobility of our conccpls.

Thus whole armies have been
employed, as in the Crusades, in
a spirit of overbearing generr
osity, where those who received
had been at ﬁrst reluctant to
accept. Undoubtedly this is why
we speak of the “force oi an
idea” and it has been histori-
cally demonstrated as a valuable
method of spreading thought
throughout vast areas of the
world.

It is unroriunaie that the end
product is usually uniformity
rather than unity. It has been
suggested that the success of
the Roman Empire was its unity
and that the failure of the
Christian Empire and Medieval
Europe was its insistence upon
uniformity.

Thus thg past demonstrates
the unfortunate results produc—

“Portrait Of The Artist

”As A Young

in

Man”

. Dick Cervene (Art) stands beside a portrait irom his exhibi-
tlon currently heiug shown in Main Hall.

understanding becomes a hol-
low accomplishment and we
may as well remark as Thucy-
dldes that nothing of great
importance happened before

ed by the intolerant obtrusion our time. But his statement

of ideas by one group upon an:
other, One should distrust this
kind of generosity for it does-
n’i seem to be the act of a gen-
erous nature.

True generosity is steeped ‘
in tolerance, there is no right
opinion, and when one‘s idea i
is another’s conviction, the joy
in sharing is not merely an i
cgo enforcing experience which ,

l
i

.dcmonsiraics personal right-

ncss or genius, but a joy in—
spircd by the fact that two
men are united in thought,
that they have an essential
oneness which transcends per-
sonal accomplishment and yet
is the very prooi. of it.

It seems our age has failed
to consider the nature of true‘
generosity. and suffers from a
tendency toward uniformiiy.‘
The sterility of uniformity is
appalling, and perhaps our age,

is not only the “age of anxiety .,

was the result of ignorance, a
lack oi historical perspective
on his part. We have no such
excuse. Therefore We should

profit by the past, else we
are condemned to repeat ih

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We can see in this picture
that the artist is concerned with
the particular quality of his
young man—the combination of
his character and ihc various
forms that make up his appear-
ance. Through colors. (yellows,
strong greens, and blue greys)
and a peculiar accent of line.
we get a sense of the complex-
ity of character. From the
strange “unreal" color (is. no
one is green and yellow and
blue) we get a glimpse of the
total man — something much
more than we get from the
exact shape of the face, the
precise detail of the coat.

The effect ls strong and
precise of a person deeply
concerned and disturbed about
a wmplex or problems. What
makes this young man differ»
exit from other young men is
Cervzne‘s use oi colors in
unique juxtaposition, from
which we sense a personal
quality which is the young
man‘s and no one else‘s.

This quality gives the viewer
the look and shape oi an emo-
tion. And this is also what
concerns Cervene in his more
abstract work. where he insisis
on removing the simpler repre»
sentations (imitations) of realr
ity — though he is always con.
cerned with the representation
of reality, that is, the portraval
of real emotions related to do
tual events. people or places.
Ccrvonc is never purely con.
cerned with the manipulation
of line and color.

,Noniuckei Condition is oi
special interest because it
stands somewhere between the
representation as made in the
portrait and the representation

in the abstract Black Sound. In
Nantucket Condition we see the
word “cross” printed on the
hull of a lightship, a ”tublike“,
barrel-bottomed'ship. We get a
sense or the motion of the sea.
for the mast with its Crow‘s
nest is not perpendicular to the
hull as it might be in a photo
graph; it points the “wrong"
way.

Another object, possibly
another mast. poinls the other
way 7 this kind of incongi-uity
suggests a rocking of the boat
and a rolling of the waves.
But there also is a vaguely
down mass. suggesting a series
of scoops in a Circle, attached
to the ship but not clearly so.
and this because the eye of the
artist is not directly on it, but
interested in something else.
There is almost none of the
blue or green of the real sea,
but pinks. chalk whites and
hard blacks, not always clear
iy separate.

This is there to give us the
particular quality of the rounds
mass, the "tubiness", the pal-rely
like ship's hull (the sensuous
solidity of tubiness) amidst the
movement of the challe sea
and sky.

The pinks~into-teds and
whites and the black rough
lines of the ship suggest some-
thing mol-c _ a lightness and
grace as well as the solid
tubiness. It is this ineongruiiy
forced and unified into one
picture which conveys what
the artist felt when he put
down what he saw.

Black Sounds has no recog-
ognizable image, though Cer-
vene is still concerned with the

See Cervene. . .page 6

but also the age of sterility. i
We don’t communicate with‘
one another because each of us
is talking and no one is listen-
ing, each groping and no one
grasping, each finding in intol-, i
erance a right opinion, a ccrreci‘
way of thinking that deafens us
to new thought and gives in-
stead the sterile comfort of aL
group that wags in assent to
our opinion but which rails to
inspire our natural longing for,
new ideas and thereby leaves us,
sterile, anxious Creatures.

If we neglect the examples l
of the past, we deny the mean-
ing of history. Then historical i

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