Two Boys on a Beach
BY PAUL CADMUS
SOME YEARS AGO, a young man by the name of Paul Cadmus leapt into fame
overnight by the print of a painting that he had called The Fleet’s In.
The print was so frank, and its implications were so obvious, that the Navy De
partment filed an official objection. The original painting now hangs in the
Walters Gallery in Baltimore. When the author of this outrage was ferreted out
he was found to be a shy, retiring youngster, rather scholarly and bookish in
his tastes) with all his sensationalism in his paintings and prints.
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is less than thirty-five years old, and the way he has clung to a sure-fire but
unvarying technique may give some of his well-wishers an uneasy feeling that
he was not quite ready for the fame so unceremoniously thrust upon him when
The Fleet’s In burst upon the world. However, there is no question that
Cadmus has a fine and distinctive talent. It remains to see what he will do
with it. He needs to forget his market for a while, sit back and take stock of
himself, and see precisely where immaturity persists in his work.
In practically all of Cadmus’ work there is a hint of violence-actually
taking place, imminent) or latent. Two Boys on a Beach sounds drowsy enough,
but the suppressed power of the yawning boy is eloquent of Cadmus’ pre
t is an interesting motif, but it finally becomes monotonous.
Here, however, the contrast has a telling effect: the relaxed youth lying on
his stomach, and the other boy flung back on his knees in a paroxysm of weariness