They have written a crusading book, and many crusading articles.
After five years of exceedingly lonely art study, in which I had always specialized in museum exhibits, prowling around like a lost dog, I began to intensify my museum study, and at the same time shout about what I was discovering.

From nineteen hundred and five on I did orate my opinions to a group of advanced students.

We assembled weekly for several winters in the Metropolitan Museum, New York, for the discussion of the masterpieces in historic order, from Egypt to America.

From that standpoint, the work least often found, hardest to make, least popular in the street, may be in the end the one most treasured in a world-museum as a counsellor and stimulus of mankind.

Throughout this book I try to bring to bear the same simple standards of form, composition, mood, and motive that we used in finding the fundamental exhibits; the standards which are taken for granted in art histories and schools, radical or conservative, anywhere.
Again we assume it is eight o'clock in the evening, friend reader, when the chapter begins.
Just as the Action Picture has its photographic basis or fundamental metaphor in the long chase down the highway, so the Intimate Film has its photographic basis in the fact that any photoplay interior has a very small ground plan, and the cosiest of enclosing walls.