1936 April 1 Art Digest - American Artists Professional League

"Quiet
Days"
R.
W.
Woiceske
Size 83Aw x 14l/4,, - Price $24.00
KLEEMANN
a
A
L
L
I
R
I
I
S
SOLE AGENTS
FOR
R.
38
uReflections"
W.
WOICESKE
EAST
NEW
I?. W. Woc'ce8A:e
57+ll
YORK
STREET
CITY
uPines in Winter"
J3. W. Woe'ce8A:e
Size 7lA// x 123A" - Price $18.00
Size 7I/4,, X 123/" - Price $18.00
A COMPLETE COLLECTION OF WOICESKE'S ETCHINGS MAY BE SEEN AT THE GALLERIES. WE WILL GLADLY SEND
A
SELECTION
OF
REPRESENTATIVE
EXAMPLES
UPON
RECEIPT
OF
PROPER
REFERENCES.
E. a A. SILBERMAN
GALLERIES)
Inc.
PAINTINGS
Objects of Art
A
COMPOSITION
loaned
by
the
HIGH
MusEUM,
Atlanta,
Ga.,
for the SpECIAL ExHIBITIO+, of PASTEI-S and DRAWINGS
bt,
BRACKMAN
March 24th - April 6th
MACBETH
ll EAST 57th STREET
[
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a-
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.+_
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r-
r
32 East 57th Street
1 6 Seilerstatte
New York
Vienna
GALLERY
NEW YORK CITY
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The Art Digest, 1st April, 1936
a
SOME COMMENT ON THE NEWS OF ART
By PEYTON BOSWELL
The "Ayes" Hal)e lt
IHIS
This editor, like a good soldier' is going to obey orders.
His readers' who are
in command' have told him to continue
his..Comment on the News of Art..I
He
will do so.
A bit saddened by heckling|
personal
I.Suppo8e|
readers,
you
tell
So.I-the "peepul" aI.e making. life
for the editor.
Not+.. does that mean
pool)le
are
really
g.Oing-
tO
(lO
a
miSeI.able
th{.lt the
little
thinking.
for themselves a,. is it just a stubboI.n StiC.kingto an old idea?
You kllo\+. that "The Song. of
the Lark."
"The ale:lners.- and "The Ang.elus"
are the only p:lintlng.s th(. aver.ag.a Ameri(.:ln
outside of the "art c.onscious'' \+.oI.ld could I.eC.all
if asked to name two or three I)ainting.s.
Taking.
them away fI.Om the I)ub)iC IS about like taking.
the c.(.ltechism aw:ly fI.Om a C:ltllOli|..
They h{.l\.a
been brought uI) On the idea that they are errr.eat
works of art.
It took couI.aLre for you tO SPeZlk
your. mind on that.
Tell me wh:lt pictuI.eS yOl..
would like to see the I)eOJ)le take tO their hearts
in
place
of
these
old
I):lintin_o.s..,
I.(I
like
to
lmow the whole story.
EThe
edttor
,ll:olll(I
r(I(ller
ll,Ot
?lndeI.(ahe
th(It.
Peyton.
the
Boswell,
strives to be (I.I unbiase(I ¬¬compendium o)
th.e art news and oI)iniOn O/ the WOrld."
Any reader is invite{l I,o take issL|e With
what he sa.ys. Controuersv revitali=es the
thollght an:I spirit of ar;.
stluabble
o\,el.
IIOIl-eS.<(.]lti:Its.
The
I.I)eel)ul-
:ll.(`
From the South' too. is Lou Bomar
Smith' Coker College' South Carolina:
I would like lo ex])I.(.SS my Sincel.e :lr)))I.C.C.i.Ilion of .voul. oc]itol.i:lls.
Althou=.h I do not :ll\\,ays :I_TCe \+.ith the OT)iniOnS eXI)I,eSSe(1, I
fin(I
them
ver},
intel.esting
and
stimuklting..
YouI.
mag.ilzine \`.out(I e_\.I)el.ience :I distinct loss if the
editoI.ialS u.el.e disc.Ontinued.
After a,Ill \`.hat l<
the I)urT)OSe Of editorials if not, tO StlmulatC
thoug.ht by the ex])I.eSSiOn Of the editOr'S I)eI.sotl:ll o])inion..,
An(I the mol.e a.I.itlCiSm Of your
editoI.ialS th:lt iS eXPreSSed' the more SuCCeSSful'
you mz|v be SUI.e. those editorials are in making
the ''I)eel)ur thillk.
As for imf)airinIO- the Value
of
the
m.,]in
unbi:I.q:ed
body
of
'':lrt
thL.
net+.s and
m:l=.:lZille.
.vouI. ''bl(.I.`e(l'' a(litO[.i:tlS
{'olltinu(. them.
I
(.Out(1
be
opinion"
do
not
of
in
the
see
inju).},.
hot+'
Please
It is a far jump to Oakland, Cat., to
Julian C. Mesic:
I
youl,
vet.v
much
hot)e
''c.omments.''
you
\+.LIL
llOt
I have been very hapI).V
As
a
budding.
if you
did
not
jourmllist,
I
I.CCeiVe
SOme
am
curious
g.OOd
to
]etteI`S.
COnStant
COmPaniOll.
(.Iud
rCl
hate
dI.eadful|V
tO
llaVe your Pat5O.e discontinued.
I hope by "o\l.
.vou have receivL.a enOug.h irOOd letteI.S tO mak(I
.You a, good St,uI.Cly stool to stand on.
From Anna W. Olmsted' director of the
Syracuse Museum of Fine Arts:
Please. by all means. llOld On tO your. dell:".tment.
It is th(. m:ll.k of a couI.:lg.eons SOul' eX_
))ressed in the most enteI.I)rising. .,lrt I)aT)eI` in the
cOuntry.
From Prof. Frank W. Applebee. head
of the_Department of Applied Art. Alabama Polytechnic Institute:
Hold on to your e(litorial I)at,rre and do not let
cl`iticism take the snaI) Out Of your Punches... .
right or wrong. thoug-h you m:ly be in your views.
Keep neutral in your I)resent:ltiOn Of
the meWS`
but let yourself blow off steam in youI. O\\.H
columns. . . .
Havin~fr followed The AI.t Digest
since its birth' I would say that the most unicl\le
thing about your ma..a.azine is its L.lirness (|n(I
impartiality.
If some of _vouI. C.rities lived dot+.n
here in Alabama for. :I While. far. enOuirh from
the heat of the b..lttle to look at thing.s with :I
bit ol perspectivt.. they miirht lrealiZe that yOul.
c]igest of the news is pretty bl.odd in scoI)e.
h:lve had your. eX[)I.eSSiOn.
It is one of I,he fil.st
thing.s I seek each issue. . . . I do not let }'ouI.
opinion c.onfuse me, as I ac.col)I it aS the OPiniOn
of just one I)erson thor.Oug.hly in touch With the
:lrt \+.orld.
The fat.I th:lt I :lg.reed with .You
about th(. BI.etOll ))iC.tulle iS not Vital tO the Sub-
The fact that kicks have constantly c,one to.You
±rom all sides is I..lil. I)roof Of your. imr)artia.lily.
" . Incidentally. while I have probably have
nO more respect for "The Song. of tI|e LaI.k" than
you have' I do not feel that.You and DI`. IIaI.She.
are entirely rig.ht.
Let the public see what it
Wants tO See.
M:lny I)eOr)le realize how bad
Some llaintings aI.e ``.hell the.V have :I (.ha]|ce to
INGEGERD AHLEFELDT
PORTRAITS - STILL LIFE
Marc1. 30 through April ll
ARGENT GALLERIES, 42 H7. 57
David H. Blower, Log Angeles:
Continue .vouI. nag.e!
Just I)lain g.allel..V I:Ilk
on aI.t becomes bOI.lug. :|fteI. a While.
VIre must
have colltroveI.Sy tO Stimulate Our inteI.eSt.
-\Iol,e
I)o\|.er to you!
Coming back eastward' we reach Ruthven H. Byrum| president of the Indiana
Artists Club:
The first artic.le. I read in each AI.I Dig.est :ll.e
your editorials.
It is I.he stimulation of en.
lightened personal opinion which causes the Interest.
I would feel a tgreat loss in the maga7,ine if they Were discontinued.
As to ''The
Song. of the Lar.k," there are two sides. ez|ch with
real arguments. Any museum director who role.
t5rrateS Permanently tO Oblivion a Picture Which
h(.ls enjoyed the I)opular.itv of I,his one' is on
questionable ground.
And at the same time. with
his ear. tO the earth for the next faint rumbling.
in art, fashions. he hang.s WOI.kS aS artificial in
their sol.didness and brutality as Breton's is in
its sweet sentimentalit/y.
In my days as a. student at, the Art Institute
of Chic:lg.o. I ling-ered before "The Song. of the
Lark" and enjoyed it' even thoug.h I had been
taught it was I)seudo-Millet,.
I realize the real
question is \+.bethel. the I)iC.tut.e iS g.OOCl ol. b:ld art.
If it viola,tes fundamental principles of desig.n
:lnd technique it should not, hang. but to refuse
:I
I)I:lee
tO
ZI
Work
Which
has
I)OI)ular
appeal.
bet.ause it expresses romantic sentiment instead
of romantic sensuality or I'ealiStiC- I.Om(.lntiCiSm.
is <.I very questionable stand.
It seems to me that ex])I.eSSed OI)iniOnS Such
as yours aI.e much mOI.e Valuable than diplomatic
silence.
I' for one. ho[)e you will not take too
seriously the critics who would have. you express
only the oI)iniOnS they themselves hal)Pen
tO
hold.
Further eastward, this ge- of a difPAINTINGS
EMY
BY
;1PRII.
MONTROSS
785 Fifth Avenue
Hal.ShC.
be
SO
Snooty
about
to let us illiteI.ateS Of aI.t enjoy Our_
our o``.n lou-eI. level.
Cell:|I.?
No.I
'el..
I
ask
.voul.
(.I.ltl|,S
ll
GALL FRY
New York
:I
(Iue.¬tiOn..,
Wou1.d
th(.y be w.illin(=o. to \+.eat. :I Suit Of a.lOtheS the
.'f)c.e])ul.' mig.ht sole(.t foI. them..,
I g'ue§s not.
S`o'
sir,
not
e`.en
I.Song of
:I
christmas
the I_aI.k.I
nee.ktie.
iS eX:I(.tly
Jules
the
Pie-
lure we ``.ould expc,l.I the ,.I)eePuF. to select-a
sentimental \`.oI.k.
It has no moI.e Streng.th
th:"1 a SmOk(. bush in full bloom.
..But." they
sa.v. ..I guess I knot+. \`.hat I like."
Col.I.eat.
But one will lle`.er be able to I)ice Out the
big. ones until hc has workecl' toiled' read.
studiec| and c.omI)aI.Cd.-and then he Will be Very
a:lu..ious in
exT)I.eSSi»_a- his
O])iniOn.
From T. Carl Whitmer, Dramam.ouut'
La Grangeville| N. Y.:
I like immensely the I)lan you h'".e followe(I.
This
plan
clear.1y
is
to
have
a
I+.iclely
g.eneI.Ou§
:lnd unbiased exhibit of all the different kinds
of men and methods distributecl through the
I)ageS' Plus a Pr.OVOCatiVe Style in the editorials.
" Editor.ialS are mC:"1ingleSS i+.hen they aI.e
strictly antlseI)tie.
Your. WOI.dS about the need
for the "llaI`Clening Of I)OI)ulaI. taste.' form a
masterr)iece
(.ation.
of
I-lefine(I
stan(laI.Cl
in
a.elleI.al
edu_
The..ayes.. have it,-the gavel falls.
__
i
Bread or Fame?
The editor has watched with keen interest the Struggle Of the American Society
of Painters' Sculptors and Gravers to win
approval for its exhibition rental policy.
This controversial issue had its first mtional presentation when The Art Digest
printed the protest of Henry Francis Taylor' director of the Worcester Art Museum, and the answer of Katherine
Schmidt' the society's chairlnan Of the
Rental Committee, in its Nov. l5' l955'
issue.
Now' the editor| after careful consideration of the good argulnentS Of both
side8' feels COmPelled
with the artists®
to
cast
his
vote
These artists are firmly convinced of
the j`u,stice `of.their demands and are willing to Sacrifice Personal gain tO win a
battle that will. when wont benefit not.
only members of the society but all exhibiting artists. Their sincerity was shown
when 23 members of this small but select
group.I-among them Lepn Kro]l| Alex.
ander Brooks| Peter Blume| Yasuo Kuniyoshi' Reginald Marsh. Kenneth Haye8
Miller
anJ` Henry
I.
Schnakenberg-
turned down invitations to exhibit in the
coming Carnegie International. That took
courage and could only be inspired by
sincerity of purpose.
Winning a ..first..
at the Carnegie has "made.. many an
artist of prominence today.
Members of the society did not go into
the rental plan as a means of making
''easy'' money.
They were forced into it
by the bitter necessities of existence-
NEW ENGLAND
HERZFELD
rrTII.
DI..
Home again in the East! and up speaks
Fletcher H. Carpenter, of the East High
tO
And then from ''the Southland''-of
oranges and promotion-comes this by
somethint,- that (.ould serve as a stool to st:lml
on if the water got too hot.
Though I have only .lust become "art c.Onscious." your mag...lzine is a.oing. to be a prett.v
Sell
disc.Ontin\le
lP?n _qS_
Beelhor.elI.
T|'aaI.el..
Remsk;UIoI.SakOV I.(I[ll,ei. thale
lmow
ghoul(I
ls willing.
selves on
Bl`eton.s
.<ometlmes I.lg.ht.
ject in h:ln(I.
To me The Art Digest seems ut)biased.-and I elljOy lt 1.CI.y much.
TchaiI\.,o2?Skll
an(I
,.The Whistl-e]. alld
WILY
those of us \`.ho like ..The Song of the Lark"?
Let him sell the I)iCtuI.e tO SOme museum Which
M..I.v
Bft8. suf£bchinq £o "I".Sic. Ilo would like lo I"I,I.a
the I.peepul" enjoy tile Ore(lt compositioll.fi Of S.llrh
IIi8_ I)oa." _"TIl.e Ro.a"".I (I1"I "Tile I-ost Chord:.I
ferent hue comes from Lewis G. Westgate,
professor of geology at Ohio Wesleyan
University:
School' Rochester, N. Y.:
m('lke c.omf):ll.lsons. Fur.thel.moI.e. the I)ubllC. SOmetimes sees
thmg.s
:I.s
zl
\+.hole
while ex))c':.I.i
what you want him to do." The polls
now are closed.
Enough letters came in
to choke a hippopotamus.
The plebiscite
was Hitlerian in result.
Each vote was
.'Ja".
There was not a single I.Nein-.
most precious is from a ..cub,.. a I.budding journalist,'' Lela Apker Johnson of
Oak Park, Ill., who says:
opinion of
Only
are not those ol THE: ART D|G,T3ST, Which
him
There is room to quote from only a
few in the sheaf of letters. One of the
expresses
writing strictly as an individual. His ideas
and accusations that he was expressing
biased opinions in a magazine which from
the first had proclaimed itself unbiased'
he called a plebiscite on whether he should
discontinue his department or not.
He
said:
deI)artmenl
Mar. 30-J4pr. II
LANDSCAPES by
NELLIE FOSTER NAGEL
ARGENT GALLERIES, 42 H7. 57
4
The Art Digest, 1st April, l936
JACOB HIRS{H
ATZIQwUclaTIE5S4t&h NsYrT::'M£cTt¬S:oI'NkC.
OLD COINS AND MEDAIS
EGYPTIAN _ GREEK - ROMAN
MEDIAEVAL and RENAISSANCE
ARS. C.lASSICA' S. A.
23. Quai du Mont Blanc
GENEVA
SWITZERLAND
I. HIrsCH a CIE
PARIS
DURAND - RUEL
l2 Fas.I Fifty-seventh Street
NEW YORK
PARIS
"Artists today are living in a world that
is different.
The day when an artist
could earn an adequate living at his profession is apparently gone like last year.s
calendar| except for a fortunate few. That
ls why they are forced to demand an
..amusement'. fee for their work.
It is
artist.S
37 Avenue de Friedland
PAINTINGS BY
EDWARD
BIBERMAN
inclusive
GALLERY
73O Fl'fth Ayenue
PAINTINGS OF HORSESI
HOUNDS AND DOGS
by
I.
New York
Pierre MaTisse
lot
today
COntradiCtS
this
M.
TRACY
I842_l892
Aprll 6th to May 2nd
578
MADISON AVENUE,
NEW YORK
between 56th and 57th Streets
not of the artists' making-its a part and
French Paintings
REINHARDT
GALLERIES, INC.
parcel of the times.
The New York SI(ll recently Said in an
editorial: ''All in all, the much agitated
rental plan Seems rather an empty gesture.
It means little financially to the
artist who is fortunate enough to be asked
to exhibit.- First hand knowledge Of the
XIX and XX Century
6-30'
ENRICH-NEWHOUSE
tionary; but so is life in l936.
ll Rue Royale
April
conditions under which they work-an
appreciative but "an-co"i"""l'"a Public and
the so-called..machine age- with its com-
petition from the camera and the publishers of color reproductions. The camera
almost killed pigment portraiture: the
framed and glassed chromo' selling at
$4.98 in any department store, is ruining
the small home market.
The rental demand is new and revolu-
Works ol Art
I
food. shelter and clothing.
They were
forced into it by the economic and social
RECENT WATERCOLORS
By
State-
ment.
Artists Who are famous. acknowledged leaders of their fellows find the
landlord an unwelcome visitor.
The
rental issue means much, financially and
morally| to even these..headliners..' Fame
alone cannot pay the> landlord.
The controversy between the museums
and the artists reminds one of the old
I|ungarian truism of ''one hand washing
the other.I.
They are mutually vital.
But, in the rental issue the museum must
not suffer financially. The art world is
thoroughly cognizant of the burden the
museum directors have been forced tO
carry during the depression years' and the
good work they have been doing, nevertheless, tO Promote art interest. Although
the cost of paying the rental may be
JOHNWHORF
Until April 18
M I L C H NGEAwLLERJREf
log WEST 57th STREET
;RI;
RALPH
;Mi
CALL+FRIES
M O D ER N
to be discontlnued.
F R E N C H
the lo8er®
In his let March issue the editor proposed What he thinks would be a Sensi-
Madison Aye. and 57th Street
Fuller BuildI'ng, New york
ble 8OlutiOn Of the rental Problem. Briefly
ment. No true art lover would object to
paying a small fee for his communing with
beauty' 8Pirit and thought.
March 80 to ApriZ ll
Morton Galleries
|3O IVest 57th Street
New York
FIFTEEN GALLERY
Sculp+ure by
Cenevieve Karl Hamlin
New York
'PAI,NTINGS
MARTIN
K^lNZ
RuDOLF
W.
IJ.
BY
SCllLICllT
CARL
SCULPTURE
BAuSS
ROMNALD
KRAUSS
FRITZ GROSSH^NS
LINK
BY
ERWllI
SPR"GWEILER
RUDOLF llENN
ARMIN SCHELER
March llIth tO Aprtl 12th 1986
THE WESTERMANI\r GALLERY
24
WEST
48th
It would only double
the bus fee. Yet that ten cents multiplied
by the thousands Who attend these Shows
would more than pay any rental charges
craved by the participating arti8t8.
And
it would put new life into a class of
[Confa'ndtcd on pa!gc 18]
Marcl| 30th - April 18th
37 Weer 57th Street
Say IO cent8l
A dime to See 300 contemporary art
works in a national exhibition Should not
seeln exorbitant tO anyone Who has the
least desire tO See.
THE
STREET
NEW
YORK
I
S!rcc,/
stated it i8:
The public-the art loving
public-Should be given a Chance tO aid
thf= artist Who gives him aesthetic enjoy-
P^IHT"GS
MARCRETE OVERBECl(
CEORCE WEHNER
I(ATHERINE WINTERBuRN
:§::
.
"gri GOO Madi80/:,A5'7:;
THE ART DIGEST ls pubu8hed by The Art Digest' Inc.:
peyton Boswell, President; Joseph IJuyber, Secretar,; Peyton
Boswell, Jr., Treasurer.
Semi-monthly, October to Hrty,
lnclusi'e;
monthly June,
July,
August
and
Septentoer.
Editor, Peyton Boswell; Associate Editor. Peyton Boswell, Jr. ;
Assistant Editors, Helen Boswell and Murlel A. Foster.
Business Mamger, Joseph Luyber; Circulation Manager, Alice
McCa)rthy.
Entered as second class -tter Oct' 15, 193U.
|t the pest once ln New York, rl. I., under the act or
Maroh 3, 1879.
Subscription: United States, S3.co the
yc&r: canada. $3.20; Foreign, $3.40,. single copies, 25
cents.
Edltorlal and Ad'ertislng Office. 116 East 59tb St..
New York, N. Y.
Telephone: Volunteer 5-3571.
^'o.
13,
1st April,
1936.
Volume X.
VALENTINE GALLEFtY
69 East 57th Street
BONNARD
BRAQUE
DEGAS
New York
CEZANNE
RATISSH
MIRO
MODIGLIANI
DERAIN
DUTY
PICASso
RENOIR
LAunEC
ROUSSEAU
LEGER
LURCAT
VAN GOGH
SEunT
BELMONT GAIJERIES, Inc.
PAINTINGS By
OLD MASTERS OF ALL ScHOOLS
MUSEUM EXAMPLES
DECORATIVE WORrs oF ART
2e EAST 66th STREET, NEW YORE
ii-E-
T:be
General Offices..
116 East 59th St.
_
ART` I) TGESrF
A ComPERT"fOMmbOifefH"ithATRTHENAER=sSAOfDSE=F;a_"oa#ooF IHE Wonro
I_____
Volume X
__
_
Pe2rOi:=esi3
_ - --
-_
Ne-.I, Yo1.k, N. Y., 1st April, 1936
No. +3
Unusual criltural center will open in the Heart of I_he Rockies
"¬La Siesta:, by Paul C6zanne.
Lent from the
.Madame
Josef Stransky Collection.
Colorado Springrs lies in the heart of the
Rockies, with Pike's Peak at its very doorstep.
Invigorating climate, high altitude and
rugged, picturesque natural beauty have combined to make the little city a mecca for
Americans who would learn to know and ap_
have been subset.vierlt to llle collections.
But
now it is the dream of the founders of the
Colorado Springs Fine Arts Center to have
it enter bodily into the life of the community
-to give the city a cultural center in deed
as well as name.
preciate the grandeur of their native land.
Famous artists, musicians, actors, writersthose who actively practice the arts and those
who play the more passive role of 6.art lovers.,
masters-C6zanne,
Molligl.iani.
The Colorado Springs movement started
with the activities of the Broadmoor Art Academy, which has grown into the Fine Arts Center, bringing together under one roof the plastic
and graplliC arts, music and the drama. Thus
the new building will house an art school'
exhibition galleries, a theatre, a music room
and a museum. With the exception of an
important Indian and Southwestern collection,
It
is the intention, however, to hold frequent
exhibitions of the best work of contemporary
American and European artists and, through
purchases} gradually to build up a permanent
collection representative of the most important
art of the present time.
The building} a gift of Mrs. Taylor, was
designed by John Meem and is thoroughly
modern in feeling| the exterior extremely
simple in line and design.
It is constructed
of monolithic concrete, with aluminum doors}
windows and balconies.
[The architect,s
model was reproduced in the lst December
Renoir,
Gautquin, Modigliani' Van Gosh, Braque, Picasso and Matisse. Tile Center is a new de.
parture in museum organization, and is evi.
deuce that the relationship between art and
community life is in a vital process of change.
Art, it has been said, owes its preservation
through the centuries to the vanity and pride
of a despotic few.
Almost without exception
the great museums of the world-the Louvre,
the Prado, the Uffizi, the Kaiser Friedrich and
the Vatican-have come into being as repositories for painting and sculpture collected (or
taken by conquest) by men more concerned
with their own greater glory than with art.
issue
America, throut>o.h its millionaire art co]lec-
tors' has followed the aristocratic European
tradition, spreading over America temples and
Renaissance palaces to provide fitting accommodations for the treasures of Europe ancl
the Orient, for the art of every age and every
civilization, with America's own playing but
a minol. part. The activities of such museums
Amad.eo
llaS at Present nO Permanent COlleCtiOnS.
open its doors on April 21, with a week of
festivities and an important exhibition by
French
by
presented by Mrs. F. M. P. Taylor, the Center
ulrawn either by its physical beauty or I)y
the ever stronger desire for regained health,
have made it one of America's cultural centers.
Now Colorado Springs is to have a cultural
center as unusual as the community itself.
The Colorado Springs Fine Arts Center will
famous
Zborou)ska;
From the Stransky Collection.
Boardman, Robinson Working at the Colorado
Springs Fine Arts Center on His Murals for
the Department of Justice Building.
of
THE
ART
DIGEST].
The
location,
on rising ground, with a view of the Rockies
and Pike,s Peak, has offered the architect
unusual opportunity for picturesque effect.
l`his is enhanced by courts and gardens.
A prominent feature of the building is the
model theatre. A large lounge with a loggia
affording extended views of the mountains
adjoins the theatre and will be used for social
gatherings. An important unit is the library
for Americana collected by Mrs. Taylor, with
space for 6,000 volumes. The music room
above the lobby is equipped with a stage|
adjoining which is a small music library. The
north wing houses the art school, in connection with whicll iS a StudentS' reference room
6
The Arc, Dig.est. ls¢ April, l9..36
and fine arts library and studios for resident
and visiting artists.
Mrs. Meredith Hare of riew York is president of the Fine Arts Center; Stanley Loth.
Top is general director.
Boardman kobinson,
widely known mural painter, is director of
the art school. During the summer months
paul Burlin of New York and Paris will be
instructor of landscape. and Charles Locke,
instructor in the Art Students League, will
offer a course in etching and lithography.
warren chappell, formerly associated with
the offenbacher werkstaette of Rudolph
Koch, will continue his classes in the graphic
arts. A. Everett Austin, Jr., of the Wadsworth
Athaeneum, will direct the opening festivities.
Colorado College and the Fine Arts Center
are affiliated, and the college students in
drawing and painting now receive their practical training in the Colorado Springs school.
The students in drama will also make use
of the Center's theatre.
'The fact that the theatre dominates
Mrs. Whitney Exhibits Her New Sculpture
at washington. The group at Knoedler's consisted of l4 figure subjects and portraits in
marl)le and plaster, all done within the last
five years.
In discussing the absence of 6,a feeling for
the [imes', in Mrs. Whitney's work, Henry
McBride of the New York Sttn said: wShe not
only escaped the present tempestuous era but
escaped as well from the domination of the
terrible old masters who probably thought
that they had made "Salome," 6'Pan'' and
.'Daphne" theirs fo.rever. Mrs. Whitney makes
them hers as well." calling her a 6'poet" alld
these three sculptures 66creative of poesy,"
Mr. McBride continued:
6'It was enough for
Mrs. Whitney that 6Salome, danced.
Some.
thjntg of the gay insouciance of the little
dancer back in the distant day before the
word 6eroticism' had been invented, flashed
before her inward vision, and a moving, fleetingt believable, acceptable figure of grace
finally emerged into marble. It is only poets
who achieve such legerdemain."
It was Royal Cortissoz,s opinion that Mrs.
whitney is distinguished above all for her
architecturally was not fortuitous," writes
Mr. Lothrop. (To the theatre, to the studios,
and to the classrooms, the exhibition galleries are clearly subsidiary. The emphasis
has been placed-and this is what is so new,
play of ideas.
so revolutionary-upon the creative impulse
Temessee Marble Group by
in the people whom the Fine Arts Center expects to serve.
Its collections will be ad.
juncts, delightful and stimulating to see, but
not necessary to the growtll Of the Project.
The opening exhibition, which has been
assembled by Harold Woodbury Pal.sons from
various collections and is being shown at the
William Rockhill Nelson Gallery in Kansas
City until April 15, prior to going to Colorado Springs, comprises the work of those
founders of the school of Paris who have had
a definite bearint,fr on the course of con.
temporary art. Mr. Parsons has stresse(I the
fact that this is not to be considered a comprehensive exhibition, but rather an introduction to the tendencies and development of the
'present day school of Paris.
From the Joseph Stransky Collection comes
Gertrudle V. Whitney.
Gertrude Vanderbilt Whitney) whose name
ranks high in the American art world both
as the founder of the Whitney Museum and
a sculptor of merit, just closed her first ex-
John F. Carlson, wilmer Of the first Altman
landscape prize of $700 at the last exhibition
of the National Academy of Design, is unable
to accept this award because of a stipulation
ma(le by Mr. Altman that it be given only to
American-born citizens only. Carlson was bom
in Sweden, in l875. Under the circumstances
the prize will be withheld until next year.
Another discovery came when Maurice
Blumenfeld, winner of the first Hallgarten
1\,Iodigliani, called the 66twentieth century
inheritor of the exquisite line of Botticelli,"
is represented by three portraits.
In his
prize of $200, revealed himself to be a 17year-old boy} youngest major prize-winner in
the academy,s history.
It was not until after
the jury selection had included his work
among the 111 picked from the 5,000 entries,
and the jury of award had attached the
coveted prize to his painting that anyone
arouncl the academy knew how youngr Maurice
He had merely written on the entry
line, and many have accused him,-incor- was.
blank that he was Llnder 35, a stipulation in
rectly9 modernists argue}-Of not being able
the Hallgarten awards. When he delivered
to draw the human figure. From the Stransky
his picture for the judgingr, he was taken for
Collection comes a ''Portrait of Madame
a messenger boy.
Zborowska;" from Mrs. Cornelius J. Sulli\,an
The young artist would have missed out on
two feminine portraits.
Three storm centers of art today9 Picasso, any American-born requirement, for he is a
Matisse and Braque, are represented by native of France, of Russian parentage. He
became a full fledged American a few years
I),pical canvases.
Pierre Matisse is son(ling
ago when his father, a garment worker, was
Picasso's '6Entombment" and one of the
{6Odalisque" series by his father. From the
naturalized.
Maurice was graduated from
Thomas Jefferson High School this winter.
Stransky Collection will come a \,lew of
youth Modigliani is said to have captllred
all the prizes offered in Italy for academic
draftsmanship.
Later in life he accented
Barcelona
of Picasso's
''l)lue perio(I."
is
cl.eating
heroic
memorial
treated with a contrasting lightness of touch
that would be appropriate in a piece of in"ocent ornamental sculptllre for the garden."
the Hotel des Invalides in Paris; ''Buffalo
BilP at Cody, Wyo., and tllc Titanic -\Iemorial
Two Academy Surprises
famous 6'Gabrielle" is lent by Durand-Ruel.
forte
are the 66Spirit of the Red Cross.9? ma(le for
tal '6Slill Life With Apples" and the figure
From Paul Rosenberg comes "Portrait of a
Young Girl" and a colorful canvas of roses
in a crystal vase.
major
groups, Mrs. Whitney has demonstrated also
her skill in the fashioning of subjects simple
in comparison and on a vastly reduced scale,"
commented Edward Alden Jewell in the New
york 7,jmcs.
6The approach in most of this
work is essentially romantic, often decorative.
Through the Trees," the simple yet monumen-
of C6zanne's finest period.
Paul Rosenberg
sent from Paris a hitherto little known landscape, '6Mont Sainte Victoire.,,
Renoir, famous for his orchestrations of
color, is represented by a series of his
|6Bathcrs" and several flower pieces.
The
given sul)ject is subtly denoted.
In other
words, this artist has imagination as well as
craftsmanship.
She abundantly justifies her
fit.e years of work.w
.6While it may I)e felt that this sculptor,S
hibition in twelve years at the Knoedler Galleries, New York. Since her previous show
at the Wildensteim Galleries in l934, Mrs.
Whitney has been occupied chiefly with com.
missions for monuments, notably the St.
Nazaire Memorial at St. Nazaire, France; the
monument to Columbus, at Palos, Spain; and
the war memorial that stands on Washington
Heights in this city.
Other heroic memorials
a superb C6zanne landscape, 66View of Auvers
piece '6Siesta,'' in the rich, full-I)odied colors
66In her execution of these
projects Mrs. Whitney registers an advance
in technique," wrote Mr. Cortissoz in the New
york ffcra/d 7,H.bl,nC.
"The spirit of the
Aside
from
the
art
training
received
in
Sometimes,
however,
there
are
t3CrraVer
PaS.
sages, as in the tragic severed head of John
the Baptist, held aloft I)y Salome-her figul.e
school, his only formal study was made in four
months at the Art Students League last year.
At present he is at work with the W. P. A.
art project.
tTHE: ART DlcF:ST intended tO Print an «af.
term,atH:, on I,he academy9s annual in this issues
but found t1.at i.he critics had said practtpal!y
the same things they said last year, and, the
year before. someday they may write f_oT2ething
«niceap about the acadelny. That will be news
-Editor.i
Sculpture, Logically Shown`
studio atmosphere pervades the assemblage
of garden sculpture at the Ferargil Galleries,
New York, until April l1. In place of the
usual sculpture show of large marbles and
bronzes which are out of scale with each other.
and cramp the walls, the galleries have ar.
ranged an exhibition of models in imperma.
nent media averaging two feet in height.
These examples by 25 leading American
sculptors have never been shown before, and
can be developed into any permanent medium
and to any scale. Visitors are made to feel
that they have just happened into the sculptor's studio as the first sketch for a garden
piece has been completed. Among the artists
included are Zorach, MacMonnies, Korbe],
Gregory? -\IcCartan, Harriet Frishmuth, De
Creeft, Jennewein, Wheeler Williams. Hunt
Diederich and John Angel.
The Arc I)i.Best, lit April, 1936
Biberman,s Art
7
Kuniyoshi Holds a 3-Year Retrospective
Edwal.d BI.berman, 32-year_old American
al.list, paints portraits that embody more of
tlle Sitters personality and true mien than the
customary
professional
portrait.
Three
of
these distinctive examples will be includecl
in his fourth New York exhibition, opening
at the Reinhardt Galleries on April 6 to re-
main
until April
30.
Reproduced
on
the
cover of THE ART DIGEST is a striking like.
ness of Dorothy Hale, widow of the late
Cardner Hale, well known American fresco
painter.
Bil)erman pays much attention to
hands, believing that they unconsciously dis`
close the true character of the sitter.
He is
also keenly interested in catching the spirit
and attitude distinguishing the model. Among
the professional women painted by Biberman
are Katherine Cornell, Joan Crawford, Martha
Graham, Gale Sondergaard and Eleanor
Lambert.
New York, with its great variety of architecture and its tall buildings that catch strong
I;ghts, attracts the painter.
BiI)erman avoids
street scenes and looks on New York from
high windows, creating on his canvases simple
forms of strong contrasts. He cannot see New
York in an impressionistic manner because,
as he explains, the edges of the buildings are
so sharp one feels he can almost run his
finger up and down them.
He seeks solid
for.ms in his solid New York and in his
desert scenes, catching the essential character
without unnecessary detail.
Biberman, who is a member of the National
Society of Mural Painters, received his train_
ing at the Pennsylvania Academy of the Fine
Arts under Henry McCarter and Arthur
Carles. While he was in Europe he exhibited
at the Gallery Zak in Paris and at the
Neuekunsthandlung in Berlin.
His work has
been seen in group and one-man shows in
Philadelphia, Boston, Chicago and Log An.
geles, and he was twice represented at the
Museum of 1\/Iodern Art. Under the auspices
of the College Art Association, Biberman de`
]ivered several radio broadcasts on mural
painting in America.
clay Club Sculpture
Recent sculpture I)y members of the clay
Club of New York is I)eing shown at its gallery, 4 West 8th Street, until April 30,a collection which indicates increased interest
in permanent materials. Variety in technique
and methods of approach is noticed.
Among George Cerny's pieces are "Rhythm,"
in mahogany, and 66Slumber," in limestone.
Frank Eliscu's easy style finds expression in
6|Night Wind" and several small terra cottas.
¬¬Gi,rl Thinking," by Yasuo Kuniyoshi.
The distinctive art of Kuniyoshi, one of
the few true ''ol.iginals" in the field of con_
temporary American art, is on view at the
Downtown Gallery, New York, in a threeyear retrospective display, until April 4.
Eight new canvases are included, as well as
six pictures previously shown at the Whitney
Museum, Carnegie Institute, the Corcoran
Gallery, and the Museum of Modern Art.
Kuniyoshi does not rely on current fads and
mannerism in his painting.
The personal
sion" by Dorothy Denslow. An abstraction by
Charlotte Shapiro, a marble seal by Steever
Oldden and a torso by sahl swarz are of
interest.
quality distinguishing his work springs from
his own rich heritage, his keen interest in
experimentation and his own peculiar absorption of every day life. He has not steered
his course from the quality which manifested
itself at the beginning of his career; he has
added to it increasingly.
All of the familiar Kuniyoshi features may
be found in these paintings, says Carlyle
Burrows in the New York HcraJd Tri6unc,
'6-piquancy of style, humor, occasional vital.
Rex VVhistler's Victorian Studies
ity and low, resonant color."
Those who
anticipated striking developments from the
Action is lent by two dance figures by James
Savage.
Elizabeth
Straub9s
'6Gamboling
Lambs" is a light touch; dignity is in 6{Vi.
Rex Whistler's original designs for Gilbert
Miller's current production of '6Victoria Regina" are on view at the Walker Galleries,
New York, until April l4.
All the sets
actually used in the production are included,
as well as costume drawings and a number
of studies for sets that were not used. whist.
ler's recognition in England has spread to
America largely through these designs, which
carry out in inimitable detail the quintessence
of the Victorian era.
Great Cleveland Exhibition
The Cleveland Museum of Art is celebrating this year the 20th anniversary of its
opening. As the City of Cleveland is also
celebrating the centennial of its incorporation,
the museum is planning to co_operate by or.
ganizing
a
"Twentieth
Anniversary
Exhibi.
lion," at the museum, which will be the offi_
cial art exhil)ition of the Great Lakes Exposition.
artist's travels last summer in Mexico and the
Southwest, which he made on a Guggenheim
Fellowship, will be disappointed, adds Mr.
Burrows.
I.He is too firmly ingrained an
individualist to have suddenly change(I his
point of view. The studio means more to
Mr. Kuniyoshi than all outdoors} and there
is not a Mexican sombrero, nor a com.entional
sunny market place in the exhibition."
Emily Genauer of the New York Jyor/drc/egraJ" discovered that a number Of differences were apparent between Kuniyoshi.,s
newest and his earlier works. ''In the first
place," she writes, 'che is gradually changing
his palette, forsaking the tans and grays and
dull.greens with which he has always been
enamored,
for
pastels-blues,
subtle
pale
greens and grays with yellow in them.
6There are less dramatic contrasts of color,
and in their place a mellow, most effective
tonality. And he has learned how to put into
a small canvas all the force and perfection of
a large one, and into a large one extraordinary
delicacy of techniqLle and COnCePtiOn.`9
_)'-
William M. Milliken, director of the mug_
Gum, and Henry Sayles Francis, curator of
paintings, are now arranging for loans from
leading museums, collectors and dealers, their
aim being to assemble one of the finest ex_
hibi[ions ever held in America.
Responses
already received indicate fine co-opeI.atiOn.
and it is believed that the plans for the im.
portant sllow will bc more than realized. The
dates are from June 27 to Oct. 4.
8
The Art Digesc» 1st AprilS l936
The Printing of This Will Probably Start a Flood of Old Masters
The American Version of RaphaeTs ¬¬Madormn (I.elr lmpan,neta:,
Found in Texas by Pasquale Farine.
Through
many
generations
people
have
stood in awe before the 66Madonna dell, Im-
pannata" hanging in the Pitti Palace at Florence, believing they were gazing upon a lnaS.
terpiece from the hand of the immortal
Raphael. Now it appears that the label was
produced for a different vintage. According.
to Dorothy Grafly in the Philadelphia Record,
The Pitti Palace Version of Raphaers ¬¬Madon.na dell Impannata."
Accepted for 400 Years.
experts were cagey. They could not discredit
the 66Impannata" in the Pitti Palace.
The
photographs were not enough.
The picture
itself must be brought to Italy.
Difficulties
arose.
A painting of such importance, if
authenticated, might never again be allowed
to leave Italian soil-how could Farina,s
client prove ownership?
Last Year
Prof. Farina was at last able to
I
take the picture to Italy without fear of losing
proof exists that Florence,s Raphael is only
a copy and the true 66Madonna dell, Impannata,,, valued at Sl,000,000 and 61ost" for it, and he set ]'r l]p side by s]'de w]'th the
four centuries, has been found by Prof. Pas. vers]'on in the Pitti Palace.
Experts spent
days I)efore the two paintings. From January
quale Farina-in Texas! This is not a new
to March controversv raged, and it was not
story by the art world; rumors of Farina,s
discovery have been current for several years.
until last December that ''final authentication
He is a restorer of pictures in New York and
came through the article by Dr. Porcella in
Philadelphia.
the official organ of the Vatican." He wrote:
'6It is an intimate, profound joy to bring to
Authenticity of the Texas Raphael, writes
Miss Grafly, has now been certified by Ama. light the work of a great artist ttlat has been
dore Porcella, Italian authority} writing in in shadow; to vind]'cate it... and to replace
LtOsscrt;a,ore Rom¢no, official daily news- it where it belongs side by side with the
other
works
already
acknowledt,cred
and
paper of the Vatican. Porcella's authentication discredits the Pitti Palace painting as a
famous. This joy I felt wtli]e eXaminin_I, in
copy so inferior 66that it could not even be the
the Pitti Palace a panel brought over from
work of Raphael,s able students."
America representing the {Madonna dell Im_
It seems that Prof. Farina found the
Raphael in 1912, twenty-four years ago, when
he was called to Texas by Mrs. Mary A. Put.
Ham to examine what she termed an 66ancient
pannata' which was placed at the side of the
one which in the same gallery erroneously
bears the name of Raphael.
{'Notlling could have been more efficient
painting."
Farina,
continues
the
article.
found a picture painted on a wooden panel
measuringr 50 by 6| inches, so I)lack with dirt
and soot (it had passed through a fire). tllat
little more than a suggestion of figures
emerge(I from the grime.
Beneath the murk was something that
caught the expert,s eye, and the Farina eye
is keen. He spent a year restoring the painting to its original beauty.
When his task
was complete. he was convinced that he saw
an original Raphael, but his humble opinion
would not convince the powers that existed
in the a|.I world. Farina went to Europe and
and more demonstrative than such a con.
frontation. This has been the evidence which
End"ced me to recognize tIle Pane1' as I term
ft ¬t11e American Picture' as undoubtedlv of
Raphael and as beintg the or]'ginal from which
the one in the PittI. Gallery derives."
Dr. Porcella then gives his technical reasons
for authenticatingr the American version as
sought confirmatioll from ltaliatl SOurCeS. The
ori`ginal Raphael.-E"TOR|
ttle Original.
TReaders of THE: ART DlcF:ST. With the aid
of a. magnif;ing glass can sr)end several interesting hours tr.yine to find in i.he 1)arallel
TePrOdJcfions wh'at Dr. Porcplla fourid. and
settling to their ow" salt.sfaction lC`h.irk iS the
Concerning the assertion of Varrari, a
writer of Raphael's time, that the 66Madonna
dell' Impannata" was executed by the master
for Bindo Altoviti, Dr. Porcella writes:
6The explanation which Prof. Farina gives
I.. of a possible substitution of a copy for
the original, in order to avoid its confiscation,
together with all the other Altoviti belong.
ings, is logical and fully acceptable.
This
thesis explains also why no one ever mentioned
the existence of a copy, why Bindo Altoviti
kept the original well concealed, and also
why an obscure painter was called upon to
execute the copy rather than a pupil of
Raphael who could have boasted about it.
66Jn conclusion, as per stylistic elements and
aesthetic values, it must be recognized that
the Florentine exemplar is a copyt executed in
the mid.sixteenth century, destined to substitute the original and unfortunately to pass
for it; ttlat the American exemplar is, in.
stead, the authentic work by Raphael ex.
ecuted for Bindo Altoviti, returned to light
after four centuries, thus destroying a false
tradition and revealing a masterpiece."
The New York Post commented on Farina's
romantic discovery in these words: ''Official
admission that the Pitti Palace picture is a
counterfeit is more than a tribute to the dis.
cernment of Prof. Farina, who recognized the
original when he found it, charred and filthy,
twenty-four years ago, in Texas.
6.While admirers stood reverently I)efore the
Pitti Palace copy, where was the original?
clt was hidden at first, perhaps, in the
vaults of the Altoviti family which owned it,
and which probably had the fake made to'foil
confiscation of the original. Then apparently
it was knocked around amid the disorders of
Europe. now loot on a soldier's back, now the
merchandise of a cheap art dealer, now the
proud possession of a middle class family.
¬cHow did it get to Texas? Did some re.
centlv enriched familv buv it as part of a
~
The Art Digest, ls¢ April, 1936
load of antique 'culture, on a quick trip to
New Yol.k? Or did it come up from Mexico
witll the Spaniards?
Or was it painfully
lugged across the plains by some pioneer
family which knew its beauty but not its
worth in money?
6The painting9 they Say} iS worth a lnilliOn
now. The picture's story, which will never be
told, might be worth as much.»
EIt is possible that this painting was one
of those brought from Italy. by Leuy9 the
auctioneer, who catered in the \84O,s an(I 50,s
[o the Southem plantation olunerst craze for
old masters. He brought them almost by the
ship-loads, depleting the s1|Lall churches of
Europe of their decorations, (lnd holding three
Ructions a week in New York. Mainly the
pictures were works by nl,inor artists, or mere
copies of great paintings m,axle at the behest
of parish Churches. Being almost as old as
the ori,ginals> they were read,ily mistal{,en, for
them. That is the reason that most of the
«old masters,, that bob up to plague (lrt
9
Abstractionists Invade the Solid. South
A collection of
ings
New
Art
|2.
l28 66non.objective'' paint-
belonging to SololnOn Guggenheim of
York is being exllil)ited at the Gibbes
Gallery' Charleston, S. C., until April
The twelve 66dese|.tors of nature" are
Bauer, Kandinsky, Klee, Leger, Seurat, Chagall,
Modigliani,
Moholy-Nagy,
Delaunay?
Gleizes and Edward Kadsworth.
It is the first public JshowintJCr Of the famous
Guggenheim collection, which is said to be
one of tlle most representative Of its kind in
the world. Mr. Guggenheim donated set;eral
thousand dollars to remodel and modernize
q|
the Gibbes Gallery as a,.-;Lritable Setting for
the exhibition.
The Baion'¬,sS Hilla Rebay9
who organized the Gtiggejllieim COlleCtiOn,
has augmented the show',with,,`"a number of
|
_\
."
;i:::s afroc:taToe:uoewtnhactollsei::;i:(Tifr#i,odvehaasn c:,:::
I
I ',-,:?$
dealers> come from the Sou,th.
The oluners
have been hard to convince that they did not
possess masterpieces u)orth fabulous sums.
Now and then great and original paintings
have turned up-but not often.-EDITOR.I
It is a fascinating life, that of the art restorer. Disappointments are legion. But always there is the, eternal hope of 6Cthe great
find9?-and once in a lifetime cinderella's
fairy godmother becomes flesh and blood, if
the restorer's eyes and mind are keen and his
life is long. The art world awaits further developments in the saga of Farina, whose eyes
are keen, and the "lost" Raphael.
66The
;o:oilec::aid:!lij:our.:T:!¥it:I,ec:d:I:!elani::epnx!a::s,:dte.,i:ia¢i,.i!!ia:esena:i,:tnfi?1o::
®
®
gradLlal and timeless.... Objeqti.ye paintings
offer entertainment; so do motion pictl]res an(I
photograplls....
The realistic 'riife.[trod of
objective painting is the Gas,igs[_`?, to`^ ;cqmpl.e.
bend, for even a child can uriderstand what
is portrayed....
The non-objective picture
might be thought of as a diagram of the soul.
'6In a non.objective picture the artist sees
neither light, shadows and perspective, nor
An Artist of the Lens
Exponents of the brush and of the camera
have been at sword points for _rrenerations,
few artists of the brush seeing anything artistic or commendable in the work by artists
of the lens.
Thomas Bouchard seems to
have bridged that gap. The loo Bouchard
heedless
of
vulgar
requests
Memorial Exhibition fol. Petrina
Klee,
suc-
cession of exhibits dul.ing three years. Works
be practically all ol the painters who are
I.epresented in the |uggenheim COlleCtiOn
have been silown here since then in a great
number of different exhibitions.
So the
nature of the Chat.leston exhibit is I)y no
means unknown on the Coast.
66In the past, major. art movements have
Europe 10 years before that.
One wonders
objectives, indicates the beginning of a reverse
order."
When the 70-year-old Russian father of the
lnovement, Vassily Kandinsky, gave an exllibitiOn at the Stendahl Galleries in Los
Angeles recently, the Pacific Coast critics had
of
A memorial exhibition of the work of the
late John Petrina, of the faculty of Pratt Institute, is being held in the schools art galleries. The artist was killed in an automobile
accident last year.
and to the .Blue Four,-Kandinsky9
Jawlensky and Feininger-through a
if Charleston's tardy iIltrOduCtiOn tO the 6non-
imperative.
.6In rivalry witll the most Strenuous artists
today'
was raised in the art world of Sam Francisco
and the East Bay ten years ago wllell Mme.
Galka Scheyel. introducecl us to Franz Mare
years ago, they had been pigeon-holed as the
"lesser moderns9 and practically forgotten in
tracted to the first American showing of 6The
Language of the Lens,"
the title whicll
Bouchard gave his photographic exhibit, was
Joseph Stella, American painter.
He de.
cleared: wThomas Bouchard reveals genuine
art.
Preserving the full integrity of the
camera, spurning all the vile tricks so much
in vogue today? his entire production becomes
propaganda of any kind, he throws in relief
all those essentials pertaining to graphic art.
His composition is compact and definitive,
converging to the point. The orchestration
of the masses, in perfect accord and balance,
invested with a significant plasticity9 iS the
appropriate, solid, reso-nt base for the unexpected, imaginative flights of his design,
undulating with the elusive grace of rhythm.
And the human element, flashing so eloquently
from the strong delineation of his portraits
and the impressive, bacchic frenzy of his
dancers, irradiates the tersity of his language,
derived from a profound knowledge of that
abstract idiom which every real art, past or
present, is based on."
Guggenh.elm collection.
moved slowly in a general westerly direction.
When the 6Blue Foul.9 of the Teuton apocalypse, so to speak, invaded the Bay cities ten
photographs, exhibited at the DelplliC Studios,
New York, received warln Praise from artists
and photographers alike. Among visitors at-
of
¬5Light Unity:9 by Vassily Kandinsky.
:m!yeecci!e:::hap?slltccytt:larr::dffo:lilio:Ts:oilunn:s!,ltriiilioi:tnt:u:I::oan:loo::-
An Organizat,ion by Ru{loll Baller.
Rebay Collection.
memory and knowledge of nature. He merely
uses the canvas to convey space relationship
and enlivens it by creating a lovely theme.
The chief beauty of a non-objective masterpiece lies in the perfect rhythm....
Non.
objective pictures often take years to create,
for intuition works slowly. No pattern provided by nature can be taken as an example,
and no earthly memories can offer inspiration.
Intuition is a convincing force..,
"It is interesting to know," writes Junius
Cravens of the Sam Francisco IVc2t)S, "that an
Eastern city9 Such aS Charleston, is to have its
first major introduction to 'non-objective' art
at this late date.
It is also interesting to
speculate on how a community that is famous
for cherishing the traditions of a conservative
past will receive it.
'The event recalls to min(I the hubbul) that
plenty to say. "I believe Kandinsky is one of
the giant artists of our time," said Arthur
Millier of the Los Angeles Tl'mes. 66Skeptics
tell us that in painting of Kandinsky,s sort
our rattled modern brains supply all the
meaning.
That the shapes on the canvas
mean, in themselves, nothing. But is not this
equally true of hearing music? Who can tell
what a symphony represents? We measure
its worth by our joy. My joy in Kandinsky's
paintings has grown deeper each time I have
seen it during the past five years."
Alma May Cook, critic of the Los Angeles
ffcra/d ¢n,d Express: "Kandinsky's art is either
'music of the spheres' to you or it isn't-and
if it isn't it's just some mixed up lines and
circles.
Sounds mean nothing to the deaf'
nor color to the blind, and just so these paintings are unintelligible unless you have reached
that beatific state, that sphere where you commune with the infinite, 'get the spiritual harmony, and can hear the music of the spllereS."
At a Kandinsky exhibit you can (liscover
{(whether you belong in that rarified stratum
of the initiate, or are just plain hLlman beings
who want to know what you see when you
see it."
"ro
.Th.e Art. Digest, lst April, l936
Van Gogh Travels
American Historic Paintings in Auction
The Museum of Modern Art has obtained
an
6xteliSiOn
On
the
loan
Of
approximately
follr-fifths.of its great Van Gosh exhibitions.
All the pictures were to have been returned
to their European len(lers in June, which
woul(I have macle it possiI)le fol. the museum
to accolnmOdate any except thC. fil.St five Of the
37 institutions that wante(I to show the collection.
Now five cities have I)een put into
the itinerary.
Since the closing- of the exhibition in New
Yo|.k on Jam. 5, after l23,339 persons had
seen it. both the Pennsylvania Museum and
the Boston 1\/Iuseum have had it.
In Phila.
clelphia
tion; in
at the
will go
45,569 persons attendecl the exhil)iBoston, loo,376.
It is now I)eing held
Cleveland Museuln, from Whence it
to the California Palace of the Legion
of Honor, Sam Francisco, opening May 1.
Added to the itinerary, with the approximate dates, are: Kansas City, William Rockhill Nelson Gallery, June 12 to July 10; Minneapolis, InstitLlte Of Arts, July 20 to Aug.
17; Chicago, Art Institute, Aug. 26 to Sept.
23; Detroit, Institute of Arts, Oct. 3 to 3l;
Toronto, the Art Gallery, Nov. ll to Dec. 9.
McDowell Colonists
The 1\IcDowe11 Colonists, New York, a
newly formed organization composed of past
ancl present members of the McDowell Colony
at Petersborough, announce their first exhibi.
lion of paintings and black an(I whites.
The
show which is open to the public will I)e held
at the McDowell Club, l66 East 73r(I St.,
April 5 to 30. The art committee of the group
is composed of A. Henry Nordhausen, chair-
man, Jeffrey King Levey and Anita Weschler.
The words of Lawrence Oilman of the
New York Hera!/d rrl.bttne best describe the
purpose of the McDowell Colony. It "is moth.
ing less than the fostering of creative art in
America throutjcrh the maintenance of a sum.
mer refuge where workers of clemonstrate(I
ability in the arts [musicians, writers, painters' scu)ptors] can labor in quiet ancl seclu¬¬Portrail of John Show," b], Gilbert Stu(lrt (l755-1828).
slon."
It is the aim of the McDowell Colonists to co-operate as fellow artists by means
of exhibits, recitals and lectures' to keep in
The important Cornelius Michaelson col_
famous American actor. Other notable artists
lection of rare American historical paintings
in the catalogue are: Samuel Waldo, Charles touch with the Colony at Petersborough and
will be placed on exhibition at the I?`ains GalWillson Peale, Robert Field, John Neagle, to bring the Colony I)efore the put)lie by
leries, New York, April 12, prior to clispersal Thomas Sully} Henry Inman, Ra]ph Earle, demonstrating the high quality of the work
that is done there.
at auction the evening of April 16.
Chester Harding and Benjamin West. Of a
These examples of early American art are
later period are Rothermel Johnson and
actual bits of history) true Americana. in that
be sold separately.
The 66Nativity" panel was
Daniel Huntington.
they represent records of early activities and
reproduced in the March 15th isslle of THE
Vivi(I representations of war include the
places, as well as portraits of eminent personages who were responsible in some measure
for shaping of the nation,s destiny.
Illustrative of this is the fine Gilbert Stuart portrait
of John Shaw. famous New York merchant.
fleet owner of a lineal (lescendant of Van
Twiller. Dutch governor of New York.
This
painting' was inherite(I by the sitter's daLlghter,
Alice
family
ana.
Park,s
dition,
Long Shaw, and handed down in the
to Mrs. Lawrence H. Pugrh of Lol]isiRecorded and illustrated in Laurence
book on Stuart it is in perfect conan(I has I)een termed 66 a great master-
I)attles of Lake Erie (Thomas Birch), Prince.
ton (William Ranney)} New Orleans (H. De
Laclotte), Monmouth (D. Malone Carter) and
Gettysbllrg (Peter F. Rothermel). The latter,
painted for the State of Pennsylvania- a can.
vas 20 by 30 feet-is said to be the largest
presentation
of
an
historical
scene
ever
done in America, with the exception of panoramas. Aside from his lar.,a.e decorations ancl
paintings, Rothermel was famed for his por.
traits and in his period was called the
6'Rubens of America"-a title earned chiefly
by I:is 66Chrislian Martyrs" and 66King Lear,"
piece, equal to any portrait by the I,trreatest
British artist of this period.»
Of great rarity are two panels paintecl I)y
Reml)ran(lt Peale in l802 for Peale`s Museum,
painte(I for Joseph Harrison of Phila(lelphia.
then located on tlle SeCOn(I floor Of Independ-
On April ll the Rains Galleries will sell
at auction the Royal Relics of the late Mary.
Countess of Erroll, and the 16th centurv
stained glass window removed from King's
College for preservation from Cromwell's
vandalism.
Termed 66one of the greatest windows of the world," its eleven panels will
ence Hall' Philadelphia,: an(I exhibited at
the Pennsylvania Academy of the Fine Arts
in April 1923.
They reveal this master
portraitist in an entirely new way. Pea]e is
also represented by a portrait of Zac.hart.
Tay]or and a likeness of Thomas A. Cooper..
*
*
*
Royal Relics in Sale
ART
DIGEST.
From the collection of the Countess of Erroll is a set of meticulously carved chessmen
presented by King William IV of Fngland to
his daughter, made about 1810.
Another of
the royal items is a double barrelle(I sporting
glln made by Robert Wheeler & Son, Birmingham, 1828, bearing the crest of the Royal
Arms of England. lt is contained in a case
inscribed to His Majesty George IV. Inscril)ed
to H. R. H. The Duke of Clarance is a Royal
canteen of George Ill silver made by Paul
Storr, London.
Other pieces by Storr include
an oblong tea tray and a four piece tea set
in silver' London' 1809.
Still earlier items
are listed in the catalogue, among them a
Queen Anne silver coffee pot by William
Gamble, 1704, and a Willialn Ill silver circular paten dating from 1669.
Paintings by Turner, Hoppner and Ben
Marsha]l; ceramics ranging from the thir(I to
the 18th centllry) including Persiall Roman.
Greek and Indian work are other notable
items.
Th.e Art Digest, lst April, 1936
Mile After Mile
L|
Two Horses With Four Legs! Why Not?
A proposal to conduct a no-jury art ex_
hibition, in which all artists would be asked
to exhibit, at the New York World9s Fair in
1939 has been submitted to George McAneny9
chairman of the Fair,s I)oard of (Iirectors. I)y
the Society of Independent Artists.
66With
a record for establishing new precedents in
tr --__¥,--
the world of art and pioneering in the modern
movement," said John Sloan, president of the
society} 66the society is the logical spokesman
for thousands of artists who would want to
be represented in an historic exposition sucll
as the l939 Fair, but who would be left out
after the work had been sifted through the
minds of a small group of jurors.
In his letter to Mr. McAneny) Mr. Sloan
said: 'Hitherto the showings of paintings and
sculpture at such places as the World?s Fair
have been the I.esu]t of selection by a committee. While much is to be said for this
method, it is far from exhausting the resources of the field of American art.
It not
only leaves many of the most important matters untouched but offers to the public only
sL]Ch WOrk aS iS more Or less familiar already
-the committee necessarily basing its choice
on reputations that have been built up over
a period of years.
66The elements of surprise and cliscovery are
therefore absent, and these elements are of
the greatest value in a World?s Fair, where
the visitor.s (a very different group from those
at a museum with its classics and its scientific
approach) are in search of novelty and entertainment."
A German-American Show
Works by a group of German-American artists may be seen at the new Westermann Gallery, 24 West Forty-Eight Street, New York
llntil April 12.
Martin Kainz, a former exhibitor at the Weyhe Galleryt shows a ]al.ge
number of landscapes painted in his usual
heavy manner with thick layers of paint laid
on lavishly with a palette knife.
In contrast
to the rude vigor of Kainz,s work is the careful draughtsmanship of Carl Link, who is
showing colored pencil drawiIlgS Of the Oberammergau players, effective in their sincere
renclition. In his water colors Kainz gets a
softer effect, an almost absorbent texture.
Classical sculpture is mixed with modern
interp1.etatiOnS I)y Armin Scheler and academic work by Erwin SprintJCrWeiler, whose
p1.OPOrtiOnS take lengthy lines. Other sculptors
are Rudolf W. Bauss, Romnal(I Krauss and
Fritz Gl.osshans.
6¬Champions of Slation' C;9 bly Charl,es Kassler9 II. Van Renssalaer Wilbur Prize.
With 90 paintings accepted from a total
of 417 submitted, and the $500 prize awarded
to a mural in which "two horses have a total
of four legs," the l7th annual Painters and
Sculptors Exhibition at the Los Angeles Museum, accor(ling to Alma May Cook in the
Los Ancg)eles Heral,(I an,(I Express, .twill he
orable mentions, Martin Kosleck,s 66Dancing
Family" and Bob Dewitt,s 6Tive o,Clock." In
sculpture:
first museum award to Roma MaIlett,s 66Apsaras;" second, Jane F. Ullman,s
family group; third, Phillip Paval.s "Holly.
wood;» honorable mentions, Knu(I h/Ierrild?s
.6Abstraction" and William Atkinson.s 66Kis-
a decide(I problem to tile aVeragre gra]lery Visitor as well as to the reviewers."
66ChalnPiOnS
of Station Cw by Cllarles Kassler II won the
Van Ranssaelel. Will)ur purchase prize for "a
met.',
IIarry J\,Iuir Kul.tzworth of SczfL,rdC!y IVa't)tJfrf
work of art by an artist who has not receive(I
a museum prize."
Jurymen (leclared the exhibit 66truly contelnPOrary."
66I[ reflects the chaotic state of
the worlcl today," said Hartley Burr Alexanclel.,
professor of philosophy at Scripps College,
ad(ling, "but it is full of hope and promise."
Other jury members were:
Dean A. C.
Weatherhead, Dr. George Cox. Merl.e]l Gage,
Willard Nash and Ernest L. Tross, chairman.
66As always in these annual museum shows,"
Miss Cook writes, "the major portion of the
Silberman's American Visit
J\,Ir. Elkan Silberman of Vienna, head of
E. & A. Silberman, one of the oldest art firms
in Europe, will make his first visit to New
York this month.
For several generations
these art dealers have been in contact with
the important aristocratic and reigning families of the continent and have negotiated
many transactions of consequence to the art
world.
Mr. Silberman is a ranking authority
in the old master field.
Through the American branch E. & A.
Silberman have placed several masterpieces of
utmost importance in museums and private
collections, among them Rembrandt,s 66Christ
Washing the Feet of His Disciples," now at
the Art Institute of Chicago; Raphael,s por.
trait of Taddeo Taddei, purchased by the
Detroit Institute of Arts, and works by
Dtirer, Holbein, Titian, Rubens and others
of similar calibre.
jury are modernistic and therefore the awards
are always to ultra-modern work.w
The first museum award, a purely nominal
honor, went to Paul Sample for his 66Hospital
Ward% starkly realistic in its portrayal of the
stern reality of the struggle of life and death.
Other awards were:
second, Tom Lewis,
66Country Church% (including the graveyard) ;
third, James Redmond,s 66Siamese Cat;" hon-
decried tlle (leriVatiVe WOrk
66Stanlon -\/IacDonald Wright
in the
is well
Show.
repre_
sented not only in his own canvas I)ut in the
works of Margaret Carlson, Chal.lee Hurlbut
Davis and Marcia A. Patrick.w
Following in
Paul Sample,s.6wake" are Phil Dike, James
Patrick an(I Gertrude Whetsel. Mexican inspil.ations and the cult of the American primitive have their exponents. 66Althoug.h Sheets
is not in the show he is ably represented, in
style at least, I)y Robert Majol..
Similar.ly
the style of Edouard Vysekal is adequately
set forth by M. Hayakawa.
66Some there be," Mr. Kurtzworth continues
in caustic vein, 66who chargre the jury with
gross neglect in permitting a number of professional and a)most academic paintings to be
hung in this exhibit." In this category fall
works by Lee Blair, Oscar E. Berninghaus,
Nellie Ward Haller, Emil Kosa, Jr., Richard
Munsell, Edith C. Phelps, Elmer Plummer,
Stan Pociecha Poray? Donna Schuster, Dewitt
Parshall and Bob Dewitt.
Wildenstein dnc] Co./ lnc.
19 East 64th Street
New York City
Paris
London
I:Z
The Art Digest. lst April. l936
((Sanity in Art"
Exhibit Sets.Forth Gahso,s Versatility
~
|Irs. Frank G. Logan, wealthy Chicago art
patron, has launched a new society bearint,the official title of 66Sanity in Art," its object
being to make a concerted stand 66against the
modernistic, moronic grotesqueries that today
masquerade as art." The need for such an
organization, says Mrs. Logan, was brought
home to her as she viewed the recent American and Chicago exhibitions at the Art In.
stitute of Chicago, recipient of many I)enefac.
lions from her in the past. In particular is
Mrs. Logan disappointed in the wilmerS Of
recent Logan prizes.
Response to the society's call already is
notable. Mrs. Logan writes that she has received more than "200 letters and clippings
from every state in the Union comlnending
me for my endeavor," and agreeing with her
in her effort to 66rid us of the examples such
as are at present displayed on the walls of
our Institute and, as a matter of fact, shown
all over America." Branch clubs have I)een
formed in
Pittsburgh, Kansas City, Minneapolis and Greenwich, Conn.
Mrs. Logan's action seems to forecast a
wider break in Chicago art circles.
Mrs.
Scott Durand has decided to cut the Art
Institute out of her will, according to the
Chicago J4merl.cam, and Miss Kate Bucking.
ham has agreed to grive the new organization
her full support. On the other hand, Chauncey
McCormick, a trustee of the institute, has
declined to become a member of the new
66Still Life will. Boucher Painting;9 by Evil Ganso.
Vitality and an interest in various media
of art expression characterize Emil Ganso,s
large group of paintings, I)lack-and-whites,
temperas and water colors at the Weyhe Galleryt New York, until April 4.
Studio nudes
mingle with far-reaching stretches of landscape and still life compositions.
Ganso,s
versatility in different media is emphasized
by his wide selection of sllbjeCt matter. He
is interested in corn shocks, verclant fields
and nudes with their stockings on.
There are 66endearing and lusty qualities"
in the work of this Woodstock painter, according to Howard Devree of the New York
71l'mc5.:
66Lamlscapes present sharp contrasts
water colors
as well.
Figul.es
are lovingly
painted; they are presented in solid flesh
and not mere academic exercises in drawing.
Occasionally in the posture of a model and
the solidity with which she is invested there
is something a little reminiscent of Renoir
".. So much of strength is in Mr. Ganso's
work that one is in danger of overlooking the
decorative quality which is also inherent."
Ganso's nudes are 6'always skillful, as well
as prominent, in his shows," according to
Carlyle Burrows in the New York HcrcI/d
Tr|'bttnc. 6{But color and texture seem more
important than substance and vitality in them.
The I)est of his still life this time is a large
-pleasant greens of foliage and slaty skies,
fruit piece, with a bottle of wine-a work of
an effect he carries over from his oils to his
varied and charming color appeal."
awarded first prize and the Lehman award in
Carnegie Plans
Plans for the l936 Carnegie International
Exhibition of Painting were announced by
Homer Saint_Gaudens, the director, just before sailing for his annual survey of European
contemporary art activities.
The exhibition
will be held from Oct. l5 to Dec. 6, and will
contain approximately 300 paintings from six
nations-the United States, England, France,
Italy} Spain and Germany. A special feature
will be a one-man show by Felice Carena of
Italy}
whose
paintint,cr
'The
Studio"
GERALD L.
was
the 1929 International. The J'ury Of awards
will meet in Pittsburgh beginning Sept. 23.
The prizes will be as follows.. first prize,
Sl,OOO; second, $600; third, $500; first honor-
able mention, $400; second mention, $300;
third mention, $200; fourth mention, $100.
The Garden Club of Allegheny County will
again offer a $300 prize for the best painting
of flowers, preferably a garden picture.
A
popular prize of $200 will be awarded on
vote of the visitors.
society, saying: ''Sanity in art-sanity in anything-is indeed a fine goal at which to aim,
but the question immediately arises-whose
sanity?"
point of view on art is not sympathetic with
yours. My feeling is that when art I)ecomes
static, it is worthless."
*
*
*
A Totalitarian
A typical example of Mrs. Logan,s efforts
in behalf of contemporary artists is reported
by Eleanor Jewett in the Chicago Trl.bz47lC'.
The Chicago Galleries Association placed on
exhibition a group of portraits by Oskar
Gross, sand dune paintings by Frank V. Dudley} landscapes and still lifes by Marvin D.
Cone, and mountain landscapes by Alfred J.
Wands.
Mrs. Logan attended the opening
and was 66so intrigued by the sound, sane and
forceful paintint,cr" shown that she decided
prizes were in order.
The galleries furnished white ribbons and
the Josephine Hancock Logan prizes were
awarded by Mrs. Logan to '6Along the Sandy
Way"
by Dudley and to
66Portrait of
Brothers" by Gross. Mrs. Logan says that it
is much more satisfactory to be one,s own jury
of award.
At least then you know exactly
where your money and name are going..
EfchI'ngS
ANNUAL EXHIBITION
of the
PAINTINGS BY
BROCKHURST
FIRST
Anotller invited SPOnSOr, Mrs. Ke1.
logs Fairbanks, replied to Mrs. Logan: '"y
COMPREHENSIVE
EXHIBITION IN AMERICA
April 13th - Mar End
NEW YORK
WATER COLOR CLUB
April 16th - April 3Oth, I.nC.
Galleries of +he Fine Ar+s Socie+y
also
AntI'que Chinese
Blue J \^/kite Porcelains
®uY I. MAYER
DORIS LEE
and
REX WHISTLER'S
GALLERY
578 MadI.SOP Aye.t at 57th St., N.Y.C.
ORIGINAL WATER-COLOR DRAWINGS
OF SETS FOR ||VICTORIA RECINAw
WALKER
IO8
East
57
St.,
New
York
2|5
West
57th
Street,
New York
A Special Feature will be the Showing of
Small \X/ater Colors of High Quality'
suitable for the Modern Home, and
Reasonably Priced.
Open Daily from lO:OO a.m. to 6:OO p.m.
Sundays from 1:3O p.m. to 6:OO p.m.
Admission
Free
The Arc Digest, lsc April, 1936
New York,s Own
18
Barse Miller Brings California East
More than 8,000 visitors have seen the exhibits at New York's Temporary Galleries of
the Municipal Art
Committee since their
establishment on Jam. 6.
The fifth exhil)ition.
opening March |8 and continuing through
April 5, will be comprised of three groups
of paintings and one of sculpture.
Artists of Staten Island, who constitute one
group9 Organized by Mrs. Muriel Mattocks
Cleaves, will show landscapes, still lifes and
portraits.
They are:
Arthur Beaumont,
Henrietta Beaumont, Fly M. Behar, Muriel
Mattocks Cleaves, Richard Kroth, W. Irving
Lewis, Eleanor E. Marshall, Carolyn C.
Mase, Agnes C. Nash, Dorothy M. Oakes,
Philip Rice, Emma L. R. White, Adeline
Albright Wigand and Otto C. Wigand.
Louis Stern has organized a group of oil
painters who will show figure studies, still
lifes and one mural, .6Organization," by
Stuyvesant Van Veen.
Other exhibitors are:
Laurence Foy} Hazel H. Hood, Jacob Kainen,
Clara Kesler, Rosa]ie Lanzo, Charles Liguori,
Jules Rubinstein and Harry Schoulberg.
Abstractions, still lifes, portraits and landscapes by another group represented by
Muriel Walcoff include work by Carl Buck,
George Cerny, Lesley Crawford, Marion Eldredge, Stuart Eldredge, Agnes S. Healy, May_
belle Richardson, Constantino B. Boss and
Willson Young Stamper.
Sculptors participating in the fifth exhibition at the temporary Galleries are:
Albino Cavallito, Lucy Christopher, Chain
Gross, Pauline Margulies, Joseph Nicolosi,
Anita Weschler, Warren Wheelock, Polygnotos
Vagis, Alexandre Zeitlin and Ethel Myers.
Whitney Museum Purchases
The Whitney Museum has purchased l7
water colors from Part II of its second
Biennial (devoted to Contemporary American
water colors and pastels).
These are in
addition to the 37 works of sculpture, draw.
ings and prints bought from Part I of the
Biennial through the $20,000 fund provided
for this purpose. The water color acquisitions:
66Skaters, Central Park?? by Cecil C. Bell,
"Chicago Junk Yardw and ||Halsted Street"
..Hilltop:. by Barge Miller.
Spring comes to New York and with it the
sunny freshness of the California landscape
as presented by Barse Miller in his group of
large water colors at the Ferargil Galleries,
until April 12.
Miller, one of the younger
artists from the West, catches the charm of
the coast in a bold, clear style, which eliminates preliminary pencil sketching. Typical
also of the western spirit is his choice of
subject
(three
matter-"Blue
sailors
Dungaree
playing cards),
Blues,"
66Highway to
'Frisco," "Johnny,s Schoolhouse Standeth Yet."
Miller's water colors have the same fresh
stimulation as the work the other young Californian, Millard Sheets.
He is also interested
in the spacious landscape of his state, its
farms, its towns and its actual life. These
young painters do not treat the lancl as a
Ross' ''American Scene"
In his exhibition at the Kleemann Galleries,
New York, until April ll, Sanford Boss is
showing water colors of Eastern farm subjects,
a departure from his last one-man show com.
by Aaron Bohrod, "Suburban Hotel" by Fiske
Boyd, 6Taxco" by Andrew Dasburg, {Tairfield Beachw by Thomas Donnelly, The East
River,, by Susan Frazier, {(Still Life Unity',
posed of lithographs mainly of highway
by Jack Greitzer, 66Couple" by George Grosz, scenes. Ross spent much of his youth on his
.'New York Water Front" by Abraham Harrigrandfather,s farm in New Jersey, where he
ton, {'House on Pamet River" by Edward acquired a fondness for the eastern rural
Hopper, '6Gloucester Docks" by Earl Horter,
{6Valley Winter" by Austin Mecklem, "Second scene, which went side by side with his interest in the broken-down aspects of small
Balcony,, by Georges Schreiber, 6|Black Horse" American towns.
by Millard Sheets, '6Indian Summer" by Har.
The present exhibition includes snow scenes,
wood Steiger, and ¬Thunderstorm" by John
farm yards an{l fields, done in Boss, positive
Whorf.
manner.
pal.adise for tourists, but as their native environment, thereby infusing new life into California painting. That Miller finds a keen delight in painting is evident in the force and
directness of his work. The peculiar Ameri_
can quality of breeze and gusto is stamped
upon his work.
Although he represents California in most
of his subject matter, Miller is actually a
'6foster child," for he was born in New York
32 years at,fro. He entered the school of the
National Academy of Design at the age of
ll9 transferred tO the Pennsylvania Academy
soon after, and was awarded the Cresson
scholarship for two years study in Europe
at the age of l8.
During the Winter he
teaches at the Art Center School in Log
Angeles.
The Romantic Italian Decadence
Three large canvases by Canaletto, newly
arrived from Europe, will be the starting
point of an exhibition of 18th century Venetian painting to be held April 6 to l8 at the
Knoedler Galleries New York. Museums and
private collectors will provide examples for
the exhibition, which will embrace 25 paint.
ings.
Breathing the spirit of this era, pictures
by Bellotto, Giuseppe Maria Crespi, Vittore
Ghislandi, Francesco Guardi, Piero IJOnghi9
Alessandro Magnasco, Michele Marieschi®
Piazzetta, Giovanni Battista Pittoni, Sebastiano Ricci and Tiepolo will be on view.
D I P I N D A B I I I T Yis one of the many reasons why
you can trust the handling, packing or moving of your works of
JOHN LEVY GALLERIESl lnc.
art to Budworth-with perfect
PAINTINGS
confidence.
W. S. BuDWORTH a SON
424 WEST 52d STREET, NEW YORl(
SllICE
1867
ONE
EAST 57+h STREET,
NEW
YORK
14
Tic,e Arc I)igest. lst April. l936
New York Criticism
BOSTOh-
I.ONDONT
C'HICAGO
EFor a New York art critic to be quoted
in THE: AT\T DICE;SH: he has tO Say SOmething
constructive, destructive, interesting or inspirational.
To exclude che perfunctory things
the critic sometimes says, just to ¬¬represeni`
the artist or the gallery9 iS tO dO a kindness
®
Exhibition of old
to critic, artist and gallery.i
Japanese Paintings,
Drawings and Wood
BIock Color Prints
April 6th to April 3lst
Palazzo Interests the Critics
Anthony Palazzo, young New York artist,
who held his first exhibition at the Dorothy
Paris Gallery} shows that poetic feeling in
painting is not necessarily dependent on
solemn moods and somber colors, accordingr
to Carlyle Burrows in the Hcra!/d rrjb!tnc.
6.A modern type who combines natural ol}servaLion
a
YAMAHAHA a OOI}tC.
New York
®KATCHAMAKOFF
}l
al.ch
®
SCULPTURE
®
®
WATERCOLORS
DRAWINGS
.I
1
I a
;I
RIFKA
I)I.il
1 S
(ll.a.I.
.3
1
lo
Ap.I.il
1
1
Fas( 57(h Street. New York
ELdorado 5-4845
THE PRINTCORNER
PUBLISHERS AND DISTRIBUTORS OF
FINE PRINTS BY CONTEMPORARY
ARTISTS
Calls attention to its
LECTURES ON PRINTS AND THEIR
MAKERS by
MRS. CHARLES IX/HITMORE, Dirccfor
also to a
DEMONSTRATION LECTURE ON
LITHOGRAPH by
ALBERT W. BARKER
For subject8' terms, a"l oil.e;r i1.formation.
addre88..
THE PRINT CORNER
HINGI1^M
CENTER
MASSACllUSETTS
PAINTINGS BY
ANTOINETTE
SCHULTE
April
STERNER GALLERIES
9
57th
New
York
April 6 - 18
CuCCENHEIM FELLOWSHIP WINNERS
WATER COLORS - April IO-25
MIDTOWN
of
the
T|'mcs
wrote
of
manner, with colors struck off so well that
everything is there by implication.''
*
*
Louis Bouch6, exhibiting his new work at
the Kraushaar Galleries until April 4, has to
a great extent 66the painter sophistication of
the nation of painters from which he c]e-
scends," according to Guy pane
catalogue.
6'He cannot feel,
American artists, that art must
ment upon
society) see the
countrysic]e. recor(I
the ma(I
du Bois in the
with so many
make a corn.
sores in the
lnilling Of mOl)S
in cities.
Subject matter with him seems to
happen, comes to him, is arouncl.
It is something seen and painted.w
PerllaPS for this
very
reason
Carlyle
Burrows
described
Bouch6 as a "hit and miss man.
Some of
his productions leave the beholder quite cold.
Others are stirring."
To Henry l\,IcBride in the S!tn, Bouch6
seems 66to be returning to his old form. His
bent is towards the mocking illusion, and he
is at his best when making slightly naughty
observations about the doingrs in Greenwich
Village. There was a time when everythint3r'
he did in this line was heartily acclaimed
and there was a long row of customers always
waiting, for a picture to be finished.
Then
J\,Ir. Bouch6 went abstract for a season or two
and the customers vanished. Whyt only the
customers know.
Now he returns to, not ex.
actlv
Greenwich
Village,
but
scenes
in
taverns
and
dressing
SCHEIN
GALLERIES
-605 Madison Aye.t New York-
*
to the large design, playing it LIP elnOtiOnallV
I
as though it were a theme out of Beethoven.`'
*
roolnS
Of
*
''Grand Old Man of Hungarian Art"
called
66the
grand
old
man
*.
Florence Proctor, daughter of the late Sir
Edward and Lady Kemp} who makes her
home in Toronto, held her first New York
exhibition-a group of still ]ifes-at the
Studio Guild.
Her interest lies along de.
corative lines.
Melville Upton of the S!tn {lecided that
Mrs. Proctor was 66an artist apparently wlro
knows what she wants and has no difficulty
in achieving her ends... her still ]ifes are
strong in design, if somewllat matter_Of-fact.
and not llnP]eaSjng im COIOr.
Thomas Sjmoll-
ton of the J4mer|.ccm note(I that the artist's
work was executed with care.
66She fincls her
models in flowers, sculpture and bric-a-brae.
Her paintings flash with color.
They have
glossy surfaces.
They are decorative and
presumably intended
to
be
decorative."
Carlyle Burrows of the Hera/d TribzJJle Called
her "immensely clever."
"She has original
ideas about composition and has a vast
repertory of unusual objects wlliCh She combines with inventive taste in her work.,'
*
*
*
Leon Hartl, Modern Primitive
Leon Hartl, who has been active in the
exhibition field for al)out ten years, is having.
a show of his lyrical paintings at the valentine Galleries until April 4,.
In the catalogue
George Sakier descn.bes Hartl as a "primitive," like Rousseau and Kane, adding that
61lere are tender and compassionate studies
of children... the soft wintjo.s of bir(ls beatingr in innocent landscapes... flowers that
have a trembling? vernal quality."
Carlyle
Burrows in the Hcr¢/J rrjb[/nc said: 6'This
artist's simplicity and tenderness puts him in
a class with so-called primitives, but there is
a cultivation in his style which (listinguishes
him from the fumbling amateur."
Hartl,s art is a test for. any connoissuer,
points out Henry McBride in the St"i.
66It is
simple and straight from the heart and without any tricks.
It deals with pretty colors,
sweet flowers of the kind that are to be found
on the altars of village churches in France.
and with landscapes of the kind one is apt
to see in dreams.
Tllere is something very
tender and innocent and unworldly about it.
It has so little to do with the current fashions
in
paintings
that
one,s only llOPe
for
it
iS
tllat it may appeal to the 6pure at heart.-,
*
Czobel,
*
A Canadian \X/oman Exhibits
Work,
the artist has a definite faculty for landinErrr
on the right spot of color each time." 6CThere
are also some excellent flower pieces'`, Mr.
Klein said in the Pos;, l6done in the abrupt
country
MARIE
EUGENIE
Ills
petulant yollng ladies, and shortly the customers will be lining up as in the old days."
6-l8
Street,
in
Palazzo's 6.sturdiness" and his 66dynamic brushwork leading sometimes to an almost wilful
effect of crude strength.w Jerome Klein described his painting as being ('a sort of hop,
skip and jump that holds together because
*
East
Skill
Bouch6 Avoids Propagandism
CARL FISCHER ART GALLERY
61
Devree
*
ANGEL
PAINTINGS
|I
decorative
Mr. Palazzo is a richly emotional colorist.
There is the buoyant air and I)rilliance of
springtime fields, gardens and blossomint=.
fruit trees in these paintings, which are not
only decorative but vigorous in style."
Howard
680 Fifth Aye.
with
for nature, moving and absolutely personal.''
The interest of De Segonzac in this work,
asserts Henry McBride in the Sttn, 66can be
easily understood, since both men have a like
relish for pigment, as such; an interest that
absorbs their energies completely at times.
...
There is a somberness in Czol)el's painting that hints at a tragic outlook upon life.
I..
The work, extremely rugged, dispenses
with easy charm.
The min(I of Czobel
occupies itself with the scene as a whole and
treats the detail with such high-handedness
that often he might as well be al)stract. Yet
he never loses the subject totally but keeps
of
Hungarian art," is being honored with an exhibit-ion of 35 paintings at the Brummer Galleries until April 4.
An appreciation in the
catalogue by De Segonzac says that Czobe]
66has always labored simply and obscurely.
Whether it be in his figures, painted in simple
tones; or in his still lifes, for which he
chooses objects of a great and humble sin.
plicity; or in his large and grave landscapes,
-in all Czobel's work we find a deep feeling
*
*
Dorothy Eaton Interests Critics
Dorothy Baton,s first exhibition at the Montross Gallery brougrht favorable comment from
Edward AIden Jewell of the rz.mos.
Miss
Baton 6'has a delightful sense of color and
constructs her decorative themes with, as a
rule, crispness and originality'" wrote Mr.
Jewell.
'There is a kirid of fresh 'lift, in
her work. If we encounter few leads that con-
EContinued on next page|
The Arc Digest, 1st April, l936
Daughter of Danish Minister Holds Show
NATIONAL
ACADEMY
OF DESIGN
After two successful exhil)itions in London,
the Countess Ingegerd Ahlefeldt, daughter of
the Danish Minister to Great Britain, is now
exhibiting at the Argent Galleries in New
York until April ll. Her last London exhibition, held last winter in Walker's Gal.
leries, was visited I)y Queen Mary? who on
that occasion acquired one of her paintings.
Lord Duveen of Millbank is also one of her
patrons, and has loaned a still life of Oriental
subject matter to the exhibition.
All the
Chinese objects used in the artist's still lifes
were loaned to the Countess by Lord Duveen.
Around each of these objects is built a
Chinese fairy tale, so that each picture is a
story in itself.
Chinese influence may be traced to the
painter,s first days of art instruction. As a
child, when ller father Was minister tO China,
she studiecl in an old Manchu palace under
the tutelage of a Chinese woman artist,
Madame Wong. She continued her studies
later in Denmark and then attended the Slade
School in London. After further studies in
Italy and the British School of Portrait Painting, Countess Ahlefe1(lt completed her train.
ing with the distinguished painter, Sir Philip
de Laszlo.
The exhibition at the Are.ent Gallcrics is
given over mainly to portraits of titled and
well known people. Included is a likeness of
Princess Eugenie of Greece and Denmark,
and a portrait of the Oriental scholar and
poet, Shri Purohit Swami, sitting cross-1egged
with his hands folded in thoughtful contemplatio)1.
[The Swami is now bringing Out
New York Criticism
lContinue(I from, preceding page|
duct beneath the surface, it is by all means a
pleasant experience to come upon an artist
who is not manifestly flounclering in a sea
of theories, with no hint of rescue in sight.?,
Jerome Klein in the Post (lescribed the
artist as 66another Miller pupil whose work
bears the strong imprint of training."
66At
the same time," he remarked, 66there are hints
of personal vision....
Technically some of
the decorative flower pieces are the most
{leveloped.
In the figure works there is much
uncertainty in handling action and determining relations of color values." But to Thomas
Simonton in the A,"crjcan, Miss Baton 66has
a clefinite, personal point of view.
Her paintings are very bright in color.
She llaS an
interest in people and in the places where,
people live and carry on their activities
which, if sometimes naive, is usually sincere.
She is not afraid of being ol)vious. She paints
men talking I)efore a store, dogs I)arking'
threshers working in the fields."
*
*
*
Sprinchorn. Lyricist in Paint
Carl Sprinchorn, who uses color freely alld
forcefully? exhibited work in various media
at the g.a1]ery of Mrs. Cornelius J. Sullivan,
showing interesting experiments in several
techniques.
Howard Devree of the TL'mCS
felt that Sprinchorn's canvases, 6{firmer ancl
more finished than his water colors, afford
play to his abrupt lyricism. Even when he
uses so obvious a color combination as in the
picture of the red gladiola and white peonies
against a medium blue ground, he contrives
to lift the work into poetry free from any
trace of the commonplace."
Looking back over the shows that Sprinchorn has held in the last ten years' Carlyle
Bur-rows of the Hera/d 7,H.bZtne found that
111TH
¬¬Father
Behr,
Hens
of
the
Russian
Church for En,gland," by Countess
lngeger(I
Ahlefel(lt.
the Holy Indian Scriptures in a popular form
in Ent,crland and the United States.I
One of
her most outstanding paintings is a portrait
of Father Behr, the head of the Russian
Church in England, seated before a (lrawn
curtain back of which is a vista suggesting
a church cloister.
It is interesting that this
artist is partly Russian
by ancestry? her
mother being descended from the Russian
painter De Gohr, once a member of the Royal
Academy of St. Petersburg.
c6he
has remained
finely consistent and de-
voted to making water color count potently
and beautifully in his work. He is a better
clesigner than I)efore." Henry McBride of the
Sz,», described his paintings as being 6{all of
them brilliant, an(I some of them aflame.
Sprinchorn is an impetuous stylist and all of
Ills productions seem born of a rushing emotion, but, for all that, he takes good care of
the pattern, and his water colors an(I oils
always end in excellent decoration."
*
*
*
Hungarian Depicts Mexico
Hungarian spirit adapting itself to J\/Ierican
subjects was revealed in Tibor Pataky,s collection of colorful paintings at the Delphic
Studios. 66When a somewhat exotic Hungarian
artist paints Mexico a number of things might
be expected to come about, and not the least
would be color," said Howard Devree in the
rimes. 66Certainly he has achieved some of
the most colorful landscapes and street scenes
to meet the eyes of this reviewer in several
moons."
Like many outlanders, Pataky has, in the
oA
THROUGH
judgment of Carlyle Burrows of the Hera/d
rrl'6ttne, 66absorbed much of the country9s
picturesqueness into his work.
Not all of
the paintings hold together well, being a little
loose in style, but several are interesting for
their pictorial blending of native life and
backgrounds. There is almost as much Hun-
garian peasant flavor in these pictures as
Mexican, the gayety of color and pattern having something more Oriental in feeling than
is usually found in Mexican subjects.,' Calling
Pataky's paintings 66deliberately primitive,"
Thomas Simonton of the J4merl'can, said:
6They are painted with the palette of Gau-
guin. They' are Simpler, are perhaps merely
less emphatic, than most paintings associated
in one way or another with Mexico."
APRIL
TENTH
®
215 WEST 57|rl
NEW
YORK
ST.
CITY
®
Daily.. From lO to 6 O'Clock
Sundays.. From I:30 to 6 O'Clock
®
ADMISSION FREE
T5
16
'1'he Art Digests lSt April9 1936
Coming of Age
The following article,..Tlte A1.gist Comes ol
RAINS
GALLERIES
(RAINS AUCTION ROOMS, INC.)
1 2-1 4
EAST
N EW
49+h
YO RK
ROYAL
STREET
C ITY
/Tom the persomll point of view of an ewinent
artist, who no (I,oubt speaks for thousands of
hi,s colleagues. Mr. Dasburg feels chat ¬¬the
interested public cannot fdrTly Object tO the
RELICS
small entrance charge at exhibidons u)hick
THE COLLECT:ON OF THE LATE
MARY, COUNTESS OF ERROLL
SOLD BY ORDER OF THE EXECUTORS
Wl'th Additions
MAGNIFICENT STAINED CLASS WINDOW
PROPERTY
OF
THE
REVEREND
RICHARD
RIDGE
Sold by his Order
Public Sale
SATURDAY AFTERNOON' APRIL ll' l936. AT 2:3O P. M.
aFORGE
Mounted
Gold. byElizabethan
TazzaIVbyRoyal
ThomasPresentation
Benton. SetGun
of Gilded
Silver in
Flatware
Paul Storr.
Portrait in oils by
Ben Marshall.
ERSIANI
Indianl
Romanl
and
Greek
ceramics
ranging
from
the
Ill century B. C. to the XVll century.
ON EXHIBITION THE WEEK OF APRIL 5. 1936
From9A.M.to6P.M.Da.IIy'Sunday2P.M.to 5P`. M.
ON EXHIBITION THE WEEK OF APRIL T2, 1936
From9A.M.to6P.M.Da.Ill.Sunday2 P.M.to5P. M.
RARE AMERICAN
HISTORICAL PAINTINGS
ORTRAITS of eminent early Americans.
cities.
will slLPPOrt a rental POliCy"-a SOlutiOn tO
the entire rental controversy VOiCed editOridly
in the lst March issue of THE: hair DIGEST.
Mr. Dasburg..
When museums depart from tlleir traditional
role of preservers of the great past and enter
the field of contemporary art, they should
obviously regard the artist and his work as a
whole. They face not only the abstract prob.
len of aesthetics, but the problem of the
living artist. Tt is their chief responsibility)
and chiefly theirs. It is part of their function
DODDINGTON RECTORY, CAMBRIDGESHIRE, ENGLAND
Queen Anne Silver Coffee Pot by Wi"iam Gamble.
Age;9 written. in support of.the exhibition
rental policy9 rlS endorsed by the American
Society of Painters, Sculptors and Growers> is
contributed by Andrew Dasburg. It is printed
without alteration or elidalion since it presents
euery aspect of this important controversy
Early views of American
Naval and land battle scenes®
lNE examples by Gilbert Stuartl Thomas Sullyl John Neaglel Rem-
brandt Peale' Benjamin Westl Robert Field and others.
THE COLLECTION OF
CORNELIuS MICHAELSEN, ESQ.
NEW YORK CITY
to further sympathetically all measures that
provide security for him. The assertion of
museums that ''free advertising" covers their
obligation to artists is like that of a child
who claims to I)e the progenitor of his parents.
Artists make museums, but advertising does
not make art.
The economic history of artists is an im.
pressive record of unrequited labor on their
part, and spectacular profits-to others.
with commissions ranging up to 50 percent
on sales.
Unfortunately9 few ttdea]ers" are in
a
tO
po.citI.-
S"hSI'diZe
thrOugll
THURSDAY EVENINO' APRIL l6' 1936 AT 8:3O P. M.
ILLUSTRATED CATALOGUE, ONE DOLLAR
SALES CONDUCTED
I. HAROLD I. THOMPSON
BY
a
Purchase
contract the very men whose work they 8POn.
sor.
In France this is frequently done,
enabling the art]'st to devote h].s entire energy
to his profession. his mind freed from the
restless rodent of anxiety.. wI.th
Public Sale
The
guardians of institutionalized art appear not
to realize the expense an artist,s work entails.
Usually the outlay far exceeds income from
sales, so that I.n Order to function he must
find means from other sources, mostly of a
charitable nature. and continue to trust in the
saintly patience.of the color merchants.
Occasional museum purchases favoring men
with established names do not directly contribute to the general welfare of artists.
An
outstan(ling exception is the whitney Museum,
which has gone beyond the academic collecting of reputations. It has created a living relationship with artists.
It is alive to their
difficulties.
Its liberal attitude supports and
seeks all intelligent means of assistance.
It
not only brings the new generation before
the public, but makes discriminating purchases
by way of encouragement. This spirit is of
incalculable benefit in America. where there
are no dealers in contemporary art.
only
the role of agent is assumed.
capital investments are made in the work of the renowned
dead, which is speculatively pyramided from
hand to hand and dramatized into the realm
of the fabulous. For the living artist it is
a business conducted solely on consignment,
I.tS gnawing
questions as to tomorrow.s dinner and next
week9s rent. perhaps it
French dealers pay their
little, to which we reply
is better than nothing.
answer (which cannot
quantity and quality of
will be said that the
favored artists very
that a crust of bread
However, the whole
be met) is in the
work so produced.
Let those who cling to the legend that art
ANTHONY N. BADE
flourishes on uncertainty and privation ex.
amine this.
We are still the victims of a tradition of
EContinued on next page1
The Art Digest, 1st April, 1936
Sam Diego Acquires a Hals and a Luini
AMERICAN ART
ASSOCIATION
ANDERSdN
GALLERIES. INC.
NEW YORK
CPUBLIC
SALE
Wednesday Afternoon
April 8th at 2..l5
AMERICAN
and ENGLISH
¬¬The Dutch Fawily," by Fraus Hals.
The Dutch Family" I)y Frans Hals (1580l666) and 66Modesty and Vanity" by Ber.
nardino
Luini
(c.
l475-l532)
now
au[JCrment
the old master collection of the Fine Arts
Gallery of Sam Diego. Of g.real importance in
their respective schools, the paintings were
presented by an anonymous donor who pur.
chased them through the Lilienfeld Galleries,
New York.
Definitely genre in flavor, cThe Dutch
Family" was painted about l640, before
Frans Hals had gained the facility which char.
acterizes his numerous portraits in merry
mood. This I.epresentation of grim Dutch folk
can scarcely be said to reflect the influence of
Rembrandt
(1606-l669), commonly ascribed
to this perio(I in Hals, development. Yet they
show Hals, penetration in character analysis,
his death. Eclipscd by tile suaver Rembrandt
and the precious genre painters of his centuryt
Hals, distinct contributions to art have now
great work was done under adverse circum-
English
stances.
For he died in 1666.
From a private collection in Moscow 'The
Dutch Family" passed to Norwegian diplomats. Dr. W. R. Valentiner has certified the
paintintJ-, Which Will be reproduced in his
forthcoming book 6Trans Hals, Paintings in
America.,,
66Modesty and Vanity?" Bernardino Luini's
study in feminine contrasts, was reproduced
in the lst March issue of TIIE ART DIGEST On
the occasion of the re-opening of Sam Diego
romantic altruism, a state of mind hung over
from the literature of the Parisian ,80's, the
shade of whose flctionalized artist haunts the
ing. What then may it be that advertises the
museums?
The artist is beg]'nning to realize that he is
also an economic factor. He sees that the
whole art edifice, and all its ramifications, rest
on his past and present efforts.
He must
therefore assert his importance until it is
recognized.
It is he who stimulates and
heroic size.
Consider the phrase (to give John Blank a
show., Who gives whom what?
Quite fre-
quently it is the artist who gives the rent, the
lighting, the advertising, the printing and
mailintJCr-aS Well as the pictures, and often his
own prestige.
Yet we say the gallery 6gives`,
and prove thereby how strong is the myth
which obscures the facts, and obstructs any
realistic thinking about them. Museums, as
we have seen, state that they 'give' advertis-
century mahogany furniture of
clocksl and bureaus. AIso a few
Hals' story is that of the artist unhonored
in his day. A prolific painter, his works were
held in poor esteem for two centuries after
unbuttoned, emerging like a moth from his
bearded dusk, the superior man with his
destitute mysticism, his messa[,tre of the Higher
Life, the disciple of Paradise Lost. This persistent image is the centre of a triptych,
flanked on one side by the dealer in an attitude of sacrifice, on the other by the museum
negotiating with C,od for his immortality. The
dealer makes :he artist feel it is an act of
charity to display his pictures; the museum
makes him feel it is an act of God when it
buys one (which it may well be).
This
triptych is singl]lal. in that the main panel is
in miniature, wh]'le the imposing wings are
American and English eighteenth
gained him his proper place. He was born at
Antwerp. Until 1652 he was able to support
his family of ten children, but from that time
he was pursued by poverty until the municipality granted him an anhuity of 200 florins
in l664. Thus it is seen that most of his
and in their na.I.vets are disarmint>o..
museum, the dealer, and the artist of todaythat mjserabze of the Left Bank, crummy and
FURNITIJRE
Exposition.
vitalizes our crafts-architectural decoration,
furniture, clothing} automotive design, textiles
and ceramics-everything9 in fact, that We use
and wear responds to the constant reinvigoration of the artist's restless search for new
combinations of form and color. Those interested in art should also appreciate that the
yearly turnover 1.eSulting from artistic activi_
ties runs into millions of dollars.
Insurance,
packing and shipping' rents, advertisintg, engraving, lithography, reproduction, printing)
manufacture of art materials and their retailing) designing and decorating) teaching' art
publications} museum salaries,
salesman,a
salaries, professional critics, etc., etc. A little
reflection will reveal at how many points art
effort and art interest touch our economic life.
Without going into an elaborate enumeratir)n,
a glance will suggest in how many ways money
circulates from and round art. Art is a luxury
which causes the dollars to flow in many chan_
EContinued on page 2\l
Chippendale, Hepplewhite, and
Sheraton design: sets of chairsl
tablesl
mlrrOrSI
SeCretarieSI
seventeenth
century
pieces in oak and a number of
Queen Anne examples.
ORIENTAL RUGS AND CARPETS
A FLEMISH VERDURE TAPESTRY
Porcelains
Pewter .
. Lustreware . Silver
Etchings . Engravings
Paintings . A Bronze Fountain
Statue by Janet Scudder' A.N.A.
Property of
Peterborough Estatesl lnc.
Removed from "East Hill"
Former Residence of
Mrs. William H. Schofield
at Peterborough,
N. H.
Sold by Order of
Mrs. William H. Schofield
Mr. Charles W. Cheney and
Mrs. Thomas \^/. Streeter
Illustrated Catalogue
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Exhibition Daily from
April 4th
30 East 57th Street
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\8
The Art Digest, lst April9 1930
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lContinued from page 4l
Americans Who are now being Penalized
even unto economic suicide for being
artists.
In cases Where the museum.S Charter
forbids the charging of admission, a..contribution box'. might be placed in the gallery where real art lovers could compensate the artists for the cultural privilege
extended to them. The result would be
the same| ore most likely| greater from the
monetary standpoint.
Fifteen museums, art organizations and
clubs already have accepted the rental
requirements of the society| among them
the- Whitney Museum| the S,an Francisco
Museum' the Grand Rapids Art Gallery.
Wyoming University| Roerich Museum
and the Yale Club.
It would seeln that
the issue Only needs discussion, and a
sympathetic approach from both sides.
Maybe the artists were a little brusque
and dogmatic in their initial approach.
Maybe the directors were a little hasty in
refusing to discuss the matter with artists.
representatives.
The editor has stated his position.
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A Chinese painter of the golden age
might spend six months contemplating'
day after day' a mountain' until his mind
became completely filled with the essence
of the scene,-making no visual record'
not the slightest sketch.
Then he would
go home and paint the mountain as it
existed in his soul. Not exactly the method
of VI/oodstock or Provincetown!
..In these paintings|" wrote Laurence
Binyon in his..The Flight of the Dragon|..we do not feel that the artist is portraying something external to himself;
that he is caressing the happiness and
soothing joy offered him in the pleasant
places of the earth. or even studying
with wonder and delight the miraculous
works of nature.
But the winds of the
air have become his desires| and the
clouds his wandering thoughts; the mountain peaks are his lonely aspirations, and
the torrents his liberated energies. Flowers' openingl their secret hearts to the
light and trembling to the breeze.s touch,
seem to be unfolding the mystery of his
own human heart, the mystery of those
intuitions and emotions which are too deep
or too shy for speech...
Old Chinese art' because it is of the
soul, inspires every man' no matter what
his color or his creed. At the great London exhibition, the most popular work,
judging from the sale of photographs'
was a headless statue of a Bodhisattva
disciple of Buddha)I lent by Mrs. John
art which has just closed at Burlington
House. London, after being viewed by D. Rockefeller, Jr.
Chinese art is America's own.
An in400.000 persons.
There is mystery in
dustrialist formed aL WOnderful collection
New York and mystery in \x/ashington.
and built a gem-like building in washingA high Chinese official informs The Art
ton to house it-the Freer Gallery. In
Digest that it is a question of obtaining
the Bostor` Museum is a marvelous cola battleship to transfer hither from Lonlection. provided mainly by Dr. Denman
don the precious objects owned by his
Roes, who died not long ago.
These and
nation.
It is understood that an execuother
precious
American
possessions
tive of the Metropolitan Museum recently
could augment the treasures offered by
spent several days in Washington. Maybe
the Republic of China.
the subject of his talks in the capital
Not to be forgotten is the ancient friendwas art and battleships.
It is further
ship of China and America.
understood that the American government
Fly to us, Dragon!-if not in the air,
says it cannot provide a battleship until
then in the heart of an American battleCongress appropriates the money.
That
ship!
sort of stand is ludicrous.
The President
I
as Commander-in-Chief of the Army and
Navy can order any sort of manoeuvre;
ThThg DiscI.iminate.?
so can the Navy Department; so can the
On another page will be found an acAdmiral of the Fleet.
It requires no apcount of the plea made to the organizers
propriation from Congress to send the
of New York's l939 World's Fair by the
Fleet on a practice trip.
And if the Kin?
president of the S.ociety of Independent
of England or the President of France
Artists, John Sloanl that COntemPOrary
expressed the wish to visit America and
art be shown there under the no-jury systravel on
a
Yankee battleship|
there
tem, each American artist being entitled
would not be any hitch about it. If necesto representation.
There are perhaps
sary the vessel would be sent across the
loo,000 persons in the United Statds who
Atlantic immediately and under forced
regard themselves as artists'
One can
draught.
The ancient paintings' sculptures, bronzes. porcelains, textiles and visualize the mountain-high stack of objects that.
under the no-jury system|
prints which China lent to England are
would be deposited at the gates of the
more precious than any king or presiFair®
dent. One Sung landscape means more
The editor does not believe that one
to civilization than all the rulers who
branch of the arts should seek to disnow misrule the world.
criminate against another branch, thereThe art of Greece' for so long the
fore he suggests that the managers Of the
standard of the \X/estern \X/orld' was a
Fair construct 200 theatres within the
statement of physical perfection; the art
grounds and employ 4'000 stage folk to
of Rome was a clumsy imitation of that
present the dramas written by the lawof the Hellenes; Persian and Hindu art
yers' hodcarriers' bankers' plumbers' sciwas finicky: the creations of Babylon and
Assyria were massive and brutal, that of enti8tS| taxi driVerS| inventors, dOOrment
astonomers, sewer diggers, doctors. etc.,
the Arabs a sort of glorified geometry.
who sincerely fancy they are playwrights.
The art of Egypt expressed beauty and
A further suggestion iS that the Visilove and contentment.
But the art of
tors at the fair be paid actual money for
ancient China revealed the thought and
seeing the plays and the pictures.
the soul of man®
The Art Digest. lst April. 1936
When an Egyptian Architect,
Disgrace, Buried His Parents
The
Metropolitan
Museum,s
expedition
which is excavating on the west bank of the
Nile at Thebes, under the direction of Am.
brose Lansing9 reports an important discovery
paratory to the tunnelling of a burial crypt
beneath its chapel. This toml) has been known
to
-the intact toml) of the father and mother
of Sen-Nut, the famous chief steward of Amun
in the reign of Queen Hat-shepsut, aml
arcIljteCt Of her temple at Deir eI Bahri.
Students of Egyptology will remember that
ill l927 Herbert E. Winlock, director of the
expedition, in the course of his excavations,
discovered the tomb whicII Son-Mut had made
for himself under the forecourt, a tomb which
he neither finished nor occupied owing to his
fall from royal favor when Hat-shepsut died
and the succeeding kingt Thutmose Ill, came
into power. Mr. Winlock's work was imerrupted by his appointment to the directorslliP
of the Metropolitan Museum, and it was IIOt
until the present season that tlle expedition
was able to resume the task.
Added zest to the excavating came with the
discovery} at the bottom of the ravine in front
of Sen-Mut,s tomb, of a horse buried in the
limestone chip, mummified and wrapped, and
enclosed in an enormous coffin. 6There can
be no question," says Mr. Lansing in his preliminary report, 66tIlat it iS Of the Eighteenth
Dynasty and therefore probably the earliest
horse hitherto discovered in Egypt, but it
would perhaps I)e hazardous to assulne that
it had been Sen-Mut,s property."
[The horse was brought to Egypt by the
Hyksos
conquerors, 66the shepherd kings,"
who came from the east and ruled the lan(I
for 710 years. until driven out by the founders
of the XVIIIth dynasty.
Josephus said they
were Jews, Manetho called them Phoenicians.
but in all probability they were Arabians, of
the same blood that spread Mohammedanism
by the sword nearly 3,000 years later. Before
they conquered Egypt the inhabitants of the
Nile valley were a hermit nation: They had
no horses. After they expelled the Hyksos
they had cavalry and chariots, and the
ro
The Lil,tie Burial Chamber of Ra-m,ose
and Hat-nuferS Father and Mocker
of Sen-mut9 When First Opened.
temple, in the Valley of the Kings.
Son-Nut
built himself two tombs, but slept in neither.
While sLIPerintending the work On the
temple, Sen-Mut planned for himself a large
sumptuous tomb on the top of a near-by hill
known today as Sheikh Abdel Kurneh. Here
he had originally planned that he should I)e
I)ul.led, and his statue was placed in it, and
his sarcophagus had been brought to it pre.
arcllaeOIOgiStS
for
a
full
Century..
The
Metropolitan Museum expedition unearthed
fragments of the sarcophagus in l930-31.
As his wol.k progressed on the temple of
Deir el Bahri, Sen-Mut, probably foreseeing
trouble, decided to excavate for himself a
secret burial chamber underneath the temple
courtyard. This tomb was discovere(I I)y the
Metropolitan Museum's expedition in l927.
It had not been entirely completed when Sen.
Nut fell into disgrace and doubtless was
made away with by King Thutmose Ill. His
body was never placed in the secret tomb,
which was buried deep under the rubbish in
order that his name might I)e totally forgotten.
When the Metropolitan Museum found
fragments of Sen-Mutts sarcophagus in l93731, it also unearthed in the hillside I)elow the
tomb portico the body of an old woman. doubt.
less one of Sen-Mutts servants.
She had
taken nothing to her grave except a scarab
ring and a bottle of eye-paint' but ``he was
intel.esting to the medical profession as having suffered from Pott9s disease, that form of
tuberculosis of the spine which makes people
humpbacked.
Nation Buys De Kruif Prints
The Library of Congress, Division of Fine
Arts, has purchased three prints by Henri De
Kruif, California artist, for its permanent collection. All are desert subjects, 6Te'mples of
Ricardo," {6Dragon Mesquite Tree," 66Pollard
Tamarisks."
pharaohs swept into Asia and themselves collque|.ed their old conquerors.-ED.]
Quite eel.tainly a dependency of Sen-Nut,s
own toml), however, was a small chaml)er
foun(I cut into the face of the rock just I)elow
the e(Ige of his tomb platform and I)Iocke,I
by a large slab of stone.
In it the expe(lition
foun(I tlle Chief SteWal.d?S
father and mOther'
Ra-mose ancl Hat-nufer. 66It was c|.owcled with
funel.ary material," says Mr. Lansing, (lescribing the heretofore unknown chambel..
66On
one side stood two uninscl.il)ed rectangular
coffins and on the other two anthropoid coffins
whose inscl.iptions showed they contained the
bodies of Ra-nose and Hat-nufer.
The re-
mainder of tIle SPaCe in the Chamber Was
filled with I)oxes, baskets and jars.
66Sen-Mut had griven his mother a first class
burial, provi(ling her with a copy of the Book
of the Dead, a heart scarab, and a gilt mask.
His father was for some reason not so well
treated and none of these items was found in
his coffin, which was of very mediocre quality.
Neither of the parents bears an official title."
The career of the steward of Amun an(I
architect, Sen-ML]t, iS given in detail in the
Metropolitan Museum Bud/e!in of February'
1928. In the Theban necropolis across the
Nile from Luxor, Queen Hat-shepsut built her
great temple at Deir eI Bahri, wrote Mr.
Winlock then. The corner stone was laid in
1492 B. C. and work contimled, llnder the
direction of Son-Mut, for at least ten years,
until about 1482 B. C. The burial place of
the queen herself was directly hehin(I the
..wl|en oI|e (")I fiIMI S|lCh brilliance and permanenC.`- i"
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"so
The Art I)igest, 1st April, l9.I-36
Brackman Passes from Studio to Spaces
Oakland's Annual
Oakland,s annual exhibition of oil paintings, the acme of "judicial equity," ls ln
progress at the Oakland Art Gallery until
April 8.
Three juries, conservative, intermediate and radical, pass upon all entries, a
unanimous vote from any one of the juries being sufficient to qualify a painting,s acceptance.
This year lO9 wol.ks survivecl the
scrutiny of 1\/1atteo Sando-, 1\IaI.garet Rogers
and H. L. Dugan, conservatives;
J\,Iaurice
Logan, James A. Holden and Paul A. Schmitt,
intermediates; and Lucien Labaudt', William
Caw and Glenn Vessels, I.adicals. l\,Iore tllan
llalf the paintings are froln Oakland, another
considerable portion from Soutllern Can.
fornia, and the remainder from places scat_
tered over the country.
Awards at the Oakland annual, the director,
W. H. Clapp} explains, are based on the votes
of 66qualified artists,., those whose work has
been accepted at least once in a major juried
annual exhibition within the three years preceding the Oakland annual. During the first
half of the exhibition ballots are taken to
determine candidates for honors, terminating
with 66artist,s night,,, when the artists of the
Bay Section cast their votes for the highest
ten. Balloting from then on is concentrated
on those singled out.
Another practice at the Oakland annual is
to accord a special exhibition to the winner
of the previous year. Paul A. Schmitt is this
year,s 66guest of honor," whose paintings 66An
April Wash Day" and '.Lone Tree" H. L.
Dungan, critic of the Oakland Trfbttne, considered the finest of the five the artist has
hung.
1\/Ir. Dungan writes that the l936 exhil)ition
66turns out to be a good show, containing
lnuCll Of interest, much SOund Painting and
¬¬Busy Moments;, by Robert BrackmAI;n.
Two
exhibitions
by
Rol)ert
Brackman,
young American artist who has just returned
to New York after several months teachint3Cr
as guest instructor at the Minneapolis l\/Iuseum, have opened at the Grand Central Art
Galleries and the Macbeth Galleries.
The
show at the Grand Central, remaining until
April 4, is made up of oils, while at the l\/Iac.
beth Galleries his exhibition of pastels and
drawings may be viewed until April 6.
Brackman, whose development ancl recognition have been gaining steadily9 COnfineS his
exhibition of oils mainly to recent work, but
a few of his well known canvases are included.
The artist, hitherto predominantly a 66studio"
painter, is turning more and more to land.
scape.
These
examples,
especially
66Noank
Harbor," stand out in strong contrast to tile
collection of figure subjects and fruit pictures.
The exhibition is I,crenerously spotted with
small arrangements of luscious fruit for which
Brackman seems to have a special talent: in
them there is a quiet richness and I,rrlow that
tend to I)e lost in his larger arrangements,
more effective for their studied compositions
and careful draughtmanship.
By his seriousness and care, Brackman has
stepped aside safely from the line of 66slickW
painters, who go in for brilliant effects and
rapid workmanship. In a somewhat dry manner, he I,frets solid construction and definite
form under his well.studied color passages.
There is an absence this year of the familiar
model 66Rochelle," who in the past was ever-
present in his figure compositions.
This
change saves Brackman from the mistake
sometimes made by American artists of painting the same model too often and wearying
the public with a too-familiar face. Two head
studies of the artist,s new wife, one of his
pupils at Minneapolis, are on view.
66This very able American artist's growth
takes the form not so much of exploration as
of
steadily
strengthening
craftsmanship}"
some works that ought to swing down through
time.
And how time does improve art! ...
For the most part it is an exhibition to be
recommended-partly
conservative,
partly
modem, with some in between. The extreme
radicals seem to be dying on the vine in our
parts."
But to Junius Cravens, neighbor critic of
the Sam Francisco IVcct)s, the annual at Oak.
land seemed 6|to mark a low low tide for that
institution. I don,I remember when I have
seen a collection of its proportions and pretenses that contained fewer distinctive works.
Of course, there is a bri]]iant glint here and
there on its calm surface, but the. highlights
are few and far between. Most of them are
rather pallid gleams from points South."
Among the 66gleams" from the Southland Mr.
Cravens cited entries by Moya del Pino, Boris
Deutsch. William Caw, Charles Orson Horton
and Robert B. Howard.
wrote Edward Alden Jewell in the New York
Tl'mes. 66A certain hovering academism has
always been present. It does not seem, how_
ever, to have gained any headway. Nor has
the quality that may be characterized as both
soft and sweet.
6'Brackman is, of course, an entrenched
6studio, artist.
He composes very carefully.
Sometimes
(as in the large, well-painted
figure subject, 6Busy Moments,) he composes
perhaps just a shade too carefully-that is to
say) the problem essayed and solved does not
suffic]'ently efface itself as a problem in the
process. All the same' everything from his
brush reveals thought and the taking of infinite pains. This sort of thing may never set
fire to the rivers, but it is pretty sure to have
its definite appeal."
The Art Digest, 1st April, 1936
Coming of Age
Plan Big Art Show for Dallas Centennial
EContinued from page T7|
nels, while only a trickle of pennies flows
back to keep its sources alive.
there are few lectures in Europe, though here_I
we have been giving them generally for twent\..
J
five years."
Both old and modern pictures will be hung
in Dallas as in Chicago, for in this wayI ''the
appreciation for each is heightened. You can
observe," Mr. Rich states, "certain persist.
There is no parallel to this situation in any
other field. The author gets his royalty9 the
actor and the musician their salaries. No one
questions the library rental feel the theatre
movie ticket, the symphony subscription,
admission charge to sporting events, or,
deed, the cost of every kind of amusement,
or
the
in.
be-
encies coming down through the centuriescertain good things artists do again and again
in any age-as well as striking changes of
cause it is taken for granted that the audience
contributes its share.
So few buy pictures
that sales cannot so much as feed most artists. But what of the audience for pictures}
which exists everywhere, and which contributes nothing? It has been like a 66papered
house" in the theatre, and 66papered houses"
eventually close the show. In this case they
close the studio. No doubt the public would
be delighted to get all its entertainment for
nothing9 if the Purveyors Of entertainment
were as willing that it should as the toosuppliant artist set.ms to be. Even museum
directors (who are remunerated for their ser_
vices) insist that art shall be free to allmostly at the expense of the artist, who should
consider himself handsomely repaid by his
chance to appear as a super among the great
masters.
One reason for this, possibly} is that artists
have as yet no effective fighting organization.
They have failed to co6perate, to define their
rights, and so force a recognition of them, as
others have done in spite of the most bitter
opposition, and without ruining publishers}
concert bureaus, or producers; also without
blocking the way to the young and unknown.
Let us remember that authors had no safeguards of copyright; that actors were obliged
to rehearse for weeks without pay) despite an
even chance that the show would fail immediately.
Only a few years ago artists were expected
to pay all transportation and insurance
charges on such of their products as were
distinguished by invitations to appear in exhibitions. Let us hope it will soon seem fully
as unfair that countless numbers of people
should enjoy their work gratis.
The principle of exhibition rental, as endorsed by the S(,ciety of Painters, Sculptors
and Gravers of America, is the sanest effort
so far made by artists toward easing the
heavy burden their work imposes on them, and
establishing a more reasonable balance between the wealth they create and the fragment of it they receive. The interested public
cannot fairly object to the small entrance
charge at exhibitions which will support a
rental policy.
Museums, which exist because of art;
dealers, who live by it, and all those who
love pictures, should unite in furthering this
Step.
But the artists themselves should not stand
looking wistfully on. It is their fight' first
and last. No group in this world has any
'rights' until it knows what they are, says
style."
Sculpture will be featured at the Dallas
Exposition. '6Indeed," Mr. Rich commented,
"we should like to do for sculpture what we
did in Chicago for painting. The public needs
to be educated with sculpture more today than
with painting. Too much are we dolhinated
by the idea that the chief thing in sculpture
is the ideal which dominated the great work
of the Renaissance, and that was the Greek
ideal before them-that beautiful human pro-
Richar(I Foster Hou)ard, Director of the
Dallas Art Mlrseum.
Visitors at the Dallas Centennial Exposition
next summer will view a ten-million dollar
art display which is being arranged by Dr.
Robert B. Harshe and Daniel Catton Rich,
organizers of the Century of Progress art exhibitions. In the Dallas Times Herald John
William Rogers reports an interview with Mr.
Rich who commented upon some of the find.
ings of the Chicago exhibition which will be
utilized in the Dauas show.
Mr. Rich, Dr. Harshe's co-worker, has been
on the staff of the Art Institute of Chicago
since l927 when he was chosen to edit the
museum's Bu)//ecz'n. He became instrumental
in gathering important exhibitions and in the
preparation ®f informative catalogs, and in
1929 he was made assistant curator of paint.
ings and in 193l an associate curator. His
latest publication is a monograph on ''Seurat
and the Evolution of La Grande Jatte." Mr.
Rich,s special field of study has been painting
since the Renaissance.
Proof of the fact that the public wishes
to be educated along artistic lines Mr. Rich
found in the response to the Chicago exhibitions. "Give the people the best," he says,
"and spend au your energy interpreting it for
them. Suppose the conductor of a symphony
orchestra merely played second and third rate
stuff, for fear his audience might not apple.
ciate anything better.
''As a matter of fact, in the Century of Prog.
ress art exhibitionsJ the things that Were the
most popular with the public were the things
that the critics call best, and the reputation
of great artists really rests on public feeling.
I believe people get much more from great
works of art than they can generally be artie.
ulate about.
.'The great problem in museums today is
what they are, pleads, insists, and battles, as not the acquisition of more great pictures, but
a group, until the rest of mankind indif- knowing how to utilize fully what we already
ferent, grudging9 Or hostile, at last concedes have. In this respect, American museums are
them.
far ahead of those in Europe. Even today
PAINTINGS BY
PAINTINGS BY
CENIN
JOHN
M-CCRADY
BOYER
GALLERIES
Untl'l
April
ll
LILIENFELD
GALLERIES
2l East 57|h Street. New York
Z|
Until April 8th
BROAI) STREET STATION
BUILI)ING
l6T7 Pennsylvania Boulevard, Philadelphia
portions have anything important to do with
sculpture. The new and vital conception of
sculpture as something beyond this is I)egin.
ming to be in the air.
''We are trying to make your exhibition
have a double appeal. We want it in one
sense to be popular-to be a show that people
with no artistic training and background can
visit and find genuine pleasure and inspira.
lion in, and, at the same time, to give it a
quality which will make it definitely appealing
lo the most sophisticated public. You may
be sure we are settintJCr Out, not merely tO give
you secondary examples of important men
represented, but to show really fine specimens
or their work-in some cases-the greatest
masterpieces which they achieved.»
Richard Foster Howard, newly appointe(I
director of the Dallas Museum, has worked
with Dr. Harshe and Mr. Rich from the beginning. AIthough still a young man, Mr.
Howard has had wide experience in museum
directing. He took his B. S. degree at Hal.
Yard, with two additional years of graduate
work in museum administration under professor Sachs| and three summers in the Harvard Graduate School, followed by one sum.
mer in Comell University.
Mr. Howard's work in the Technical Re.
search Department of the Fogg Museum won
him an appointment to a Carnegie Fellowship
in museum education at Yale.
Later' he
served as staff psychologist at the Pennsylvania Museum. He assisted Dr. Arthur W.
Melton in the preparation of the first volume
of ''Problems of Installation in Museums of
Art."
The North-Bound Eliot O'Hara
After Eliot 0?Hara, prominent water color
painter and instructor had completed his six
weeks course in aquarelle painting last fall
at the Yale School of Fine Arts, he went to
Mexico. Painting in the South on his way
down and in the Southwest on his way home.
Mr. O'Hara has brought back a group of
water colors that ably supplements his South
American series, shown in New York in 1934.
His latest work will be exhibited at the Argent
Galleries, New York, from April 13 to 25.
Schultheis Galleries
ESTABLISRED 1888
PAINTINGS
Br American and Fordgn Artists
142 FULTON ST., NEW YORK
22
The Arc Digesc, lst April. l936
Among The Print Makers, Old and Modern
southern printmakers Hold First Annual, Which Goes on Circuit
¢church supperl:,
Wood EngTowin.g by FTan.k Hartley Anderson.
Last veal Dr. Carl Austin Weiss, Jr., brilliant `.a-uns New Orleans surgeon, sent two
bullet; into IIuey Long ancl remove(I from
the arena of American politics a man wholn
manv regarded as a dant,crerous (lemagotque.
Dr. iveiss fell before Long,s I)o(lyguards. 6To
Keep Gl.een the Memory of Louisiana.s Martyr-Patriot" the Sollthern Printmakers have
inaugurate(I an annual prize.
Rondau W.
Woiceske of Woo(lstock is the first winner
with his etching} '6Milky Way.I,
Other prizes awar(led by the Southern Printmakers Society} which has just conclu(led its
first annual exhil)ition at the Birmingham
(A]a.) Library) prior to a tour of Southern
cities, are:
Lila Mac Chapman prize' to Leon
R. Pescheret for '6Great Tapestry Hall, Hampton Court Palace"; ancl tIle Southern Printmakers
1937 I.rrift I)Tint deSLonation. t'l I
sophonisI)a IIergesheimer for `66A(la C. Sh"ll
-Nantucket," an aquatint showing a llarl)Or
scene.
The presentation print for 1936 is
'6Church Supper," a woorl engraving by Frank
Hartlev An(lerson.
the society.
faun(ler
alld
SeCretarV
Of
Practically every branch of the print makE lllllllllllllllllllllIIIIIlllllIIllllllllllllllllllllllllllllllllllllllIIlllIMlllllllllHIIllmlmrmlINnlmlllmllun''=
:ETCHINGS
:DRAWINGS
f ENGRAVINGS
f OLD a MODERN
®
"FINE PRINTS- OUR LITTLE =
TWENTY_FOUR
PAGE
LMUASGT£!TNEED.
TEONTN T ToLsf :
IL- =
FREE TO COLLECTORS AND =
MUSEUMS.
®
fALDEN
I.
H.
GALLERIES=:
gender,
Director
: 615 \^/yando«e St., Kansas City. Mo. =
.Milky Way:.
An Etchi1.g b). R. W. ll/oiceske.
Dr. Carl Austin Weiss, Jr., Memori(ll Pri-ze.
1936 Presentation Print.
ing art is represented in the society's I".st
show-etching) wood cuts, wood engravin.:s.
lithographs an(I aquatints.
From Birmin_-crham
157 of the prints will go on a tour r\f the
South.
They w].ll be shown at the Montgomery Museum April 1 to 16 an(I at the
Nashville Museum April 19 to May 4. The
otller 96, including work by such internation.
ally known artists as Rockwell Kent, John
Stellart Curryl Diego Rivera, John Taylor
Arms. Peggy Bacon, Mahonri Young and
Regina](I Marsh, were' I)ecause of previous
arrangements, avajlab]e tmly for Birmingllam.
Museums, libraries, colleges an(I art associa.
lions wanting the exhibit should communicate
with Mr. Anderson at 2112 Eleventh Court.
Birmingham, A]a.
That the Southern Printmakers' initial venture achieved more tllan the expected Success
is shown by the 66press" comments anrl the
set purpose, and is accomplishing it success-
fully.
66The SoLlth has nO lack of artists-but it
has long ]acke(I standarcls for these artists
to reach. Only when they have gone North,
and lived and worke(I where art is more
(lefinite]y a part of existence` have Southern.
ers had a chance, and they have made goocl.
Not all artists can go North.
Many can't
afford to, more (lo not want tot bllt ail want
the inspiration found in work done I)y tIle
wor]d9s best-in any line.
6®Here is tlle Sole reason for the Sotlthern
Printmakers organization-to bring that I)est
lo the South, not only to BirmingIlam but,
it is hoped. to many cities.
It is far from
the society's purpose to show work only by
Southerners.
Its desire is to exhibit work
clone by printmakers anywllere' I"lt tO Show
it primarily to Southerners, in Southern cities,
where good work is now known onlv to a
public,s
response.
Among
the
exhibitors
few rich collectors."
singled out by the critics are:
A. G. Arnold'
Print lovers who see in the Southern Print.
Thomas G. Blakeman, Martha Fort Anderson.
Ralph H. Avery, Gerhard H. Bakker, Ig- makers a laudable enterprise are asked to help
in two ways: by having the exhibition held
natius Banasewicz, IsabeIIa LazanIS Miller.
in their towns, and by becoming patrons of
Glenn Means' Anne Stee]e Marsh, Glen M.
The latter, with memberstliPt
Brown, Florence V. Cannon, James F. Cooper' the society.
Carson S. Davis, Vera Andrus, V. Helen costs $5 a year. In return the subscriber receives the annual gift print.
In the course
Anderson, Ida Annette, Nora Benjamin' Henrv
I
Block, LowelI Bobleter, Albert W. Barker, of years the Southern Printmakers series of
Frank Hartley Anderson, Regina A. Farrellv.
gift prints will be a most va]uab]e possession.
Eliza D. Gardiner, Fred Geary, James D.
Havens, Joseph T. Hitqgrins, Editll L. TIorle'
BUYERS.
GUIDE
Harry R. Knobbs, Robert J. Kuhn, Bertha
TO J|RTISTS' MATERIALS
M. Landers. Wai`ren Mack, Dorothy Morrison.
ArtI'StS' Materials
Ida Ten Fvck O?Keeffe, Ernest A. Pickup}
Devoe & Raynol(1s
Henry C. Pitz. Antonin Sterba, Ruth Start
EI.nSt H. FI.iedI.iChS .........
Rose. Elizabeth Verner' Oscar Weissbuch,
Fezandie & SperI.le .........
Florentine
Art Plaster Co.
Gladys M. Wi]kins, Keith S. Williams and
M. Gr'umbacheI.
.....
E]Isworth Woodward, ''the South,s grand old
Hil]man Importing Co. ...
Permanent Figments ..
3O
man of the arts."
Mr. Anderson, who fifteen months atgo
started organizing the Southern Printmakers,
explained the society's aims and purpose for
THE ART DIGEST: 'The Southern Printmakers
I.s riot
just another organization.
It has a
Rich
AI.t Pal)eI.
Col.P.
.....
Talen§ & Son
Brushes
Baker Brush Co.
M. Gl.umbacheI.
United Brush Manuf:lr.tol.ies
The Art Digest, 1st April, 1936
Among the Print Makers, Old and Modern
A Briton,s America
T3
I
22 Durers, 33 Rembrandts, in Print Sale
S. R. Badlnin, 29-year-old English etcher
ancl water colorist, who came to this country
to do aquarelles for /`o,f"nc magazine, is exhibiting at the McDonalcl Gallery? New York,
until April 4.
As may I)e noted in his water
colors of Williamsburg} Va., the Philadelphia
sul)jects and the Illinois farm scenes, Badlnin
has adapted himself to this land.
I-tis I)arnvard scenes in Illinois an{l the stretches of
farm lands somewhat resemble Lucioni,s Vcr.
mont subjects alld are aS meticulously (lone.
It is the American scene tempered by an
Englishman's conservative eye.
No detail of
fal.m machinery and barn interiors has been
lost, and so perfect is the authenticity of these
water colors that they could pass unquestioned
in any glorified farm journal.
The difference between his English water
colors and the ones done over here is most
marked.
A group of etchings, varying in
teclmique, attest Badlnin'S ability in this fie1(I.
To Carlyle Burrows of the Hem/cJ rrjbttnc
the work of this young artist constitutes a
kind of paradox.
66In it he turns his back
upon the art of omission," writes 1\,Ir. Burrows,
6.searching out the last detail in his sllbject,
but through the fi]1eneSS Of his Precision and
through the charm in his style lie leaves one
merely grateful for what he does. .. .
A
I)affling, even exasperating type is Mr. Bad.
min, and one whom it is delightful to meet."
Henry McBride, who usually is annoyed by
sucll Precision, Was quite enthusiastic. 6They
have the EntJdiSh thoroughness," he Wrote in
the Sz,n, 66and though no amount of toil is begrudt,cred, the artist has the skill to conceal
the toil from or(]inary eyes."
Fawler Print Sale
The Rains Art Galleries, New York, announces the sale of the Alfred Fawler collection of etchings and clrypoints, with adclitions,
the evening of April 23, following exhibition
from April l9.
This catalogue will embrace such masters
of the present ancl past centuries as..
Hein.
rich Aldegrevar, Frank W. Benson, George
Ell)ert Burr, Hans Burgkmair, Edmund Blam-
¬¬A(lam an(I Eve."
En,graving by Albrech,t Diirer, Dated 1504.
The distinguished collection of engravings
and etchings formed by Henry Graves, Jr.I
will be dispersed at the American Art Assopie(I, Fe]ix Buhot, Arthur. Bl.iscoe, Roland
ciation-Anderson
Galleries
the
evening
of
Clark, D. Y. Camel.on, Timothy Cole, Sir
April 13.
The collection, which colnprises
Anthony Van Dyck, Albrecht Dtirer, Franl12 prints and is considered one of the most
cisco Goya, W. Russell Flint, Arthur Heintze1man, Sir Francis. Seymour Haden, William notable ever offered at public sale in America'
Hogarth, Martin ilardie, Franz Hanfstang1, features masterpieces by Dtirer, Rembrandt,
Marguerite
Kirmse,
Lucas
Van
Leyden, Whistler, Haden, Meryon, Benson, Cameron
Maxime Lalane, Alphonse Legros, W. Lee. and McBey.
A proof of the first state of Albrecht
Hankey) S. l\/I. Litten, C. R. W. Nevinson,
Charles Meryon, W. D. Macleod, Carton Diirer,s falnOuS engraving 66Adam and Eve."
Moorepark, Joseph Pennell, Rembrandt, Louis dated l504, is perhaps the crowning item of
C. Rosenberg, Martin Sch6ngauer, Sir Frank the sale. Formerly in the collection of Franz
Short,
Eileen
A.
Soper,
Diana
Thorne, yon Hagen, with whose name it is now identifie(I, this particular impression, whose owner\\'hist]er and Zorn.
ship has been traced back to the 16th centu-dy-, is one of the finest in existence. Com.
Gauguin F'acsimiles Shown
Facsimile reproductions of paintings and
woodcuts by Gauguin are on view at the F.
A. R. Gallery} New York, until April l5l
supp]ementintJO. and duPlicating the exhibition
at the Wildenstein Gallery. A complete series
of water colors and woodcuts of the Tahitian
period includes some of Gauguin's illustra.
lions for his autobiography} ''Noa Noa." The
F. A. R. selection is representative of the
great work of this picturesque artist.
paral)Iy important is an impression of Rem.
brandt's
etching
6'Christ,
With
the
Sick
Around Him, Receiving Little Children,"
commonly known as the 6¬Hundred Guilder
Print,"-the superb example on heavy Japanese paper from the Friedrich von Nagler
and Berlin Museum collections.
Twenty-one other engravings by Dtirer include ¬6Melancholia,'' '6Saint Jerome in His
Cell," 66The Coat of Arms With a Skull" and
6The
Madonna With the
Monkey."
Rem.
I)randt is representecl by 33 etchings, among
which are the first state of his portrait (6Jan
Lutma, the Elder, Goldsmith ancl Sculptor,"
the portraits of Clement de Jonghe and
Thomas Jacobz Haaring, the famous 66Landscape With a Hay Barn and a Flock of Sheep"
and other rare views of the Dutch countryside.
The 39 Whistler etchings in the sale include
his celebratecl '6Nocturne," the figure studies,
66Annie Haden" and c6Weary}" ancI, among the
Venetian subjects, 6The Dyer.,,
100 Sloan Etchings
One hundred etchingrs by John Sloan are
being exhibited at the Whitney Museum until
April 6. The exhibits cover a period of more
than a quarter of a century? from the earliest
prints dated l905 to the latest dated 1931.
From the beginning of his career Sloan llaS
been one of the most vital exponents of that
movement which, at the beginning of the
century, turned away from tlle genteel tradition of the studios to find interest and inspiration in contemporary life.
This move.
ment has exerted a profound influence an(I is
today probably the strongest tendency in
American art.
Sloan's brilliant etchings, as
a record of New York life, constitute a unique
(lofcLlment in American graphic art.
'z4
-1'he Ar: lJigest, lsc April, l936
Where to Show
The News of Books on Art
Art Book SurvevJ
EWi,thin the past year marry significant
contri,buttons hove been made to the litercLture
of art-scholarly studies, monographs on ind,ividual artists9 interpretations Of Schools and
m.ovements, books of in.struction, and works of
reference.
Some representative
pubticativns are here SurmmariZed.i
important
A Survey of British Painting
.'Bl.'i,tish Paintings" by C. H. Collins.Baker,
Surveyor of the King's Pictures and Head of
Research in Art History in the Huntington
Library and Art Gallery (Hale, Cushman and
Flint, Boston and New York, 268 illustrations,
319 pps., $10). A survey of paintings from
the medieval period to l910, utilizing authoritative research and the author's own ex.
ESocieties, museums and iT.dividunlS are
asked to co-operate in making this list and
its data com.plete.I
credit to an octogenarian. His ''driving ambition to do things, coupled with a splendid
vitality," his self-critical attitude toward each
step in the building of his technical vocabulary, have given him stature. He sings joyously of youth and life, his sensitive percep.
lions backed by increasingly sound technical
mastery. Both in the critical estimates here
presented and in the work itself there is a
prophetic message of an even greater future
for Millard Sheets.
*
*
*
FunctI:OnaliSm in the Home
66Decorative
Art,
l936,"
thirty-first
Log Angeles, Col.
TWEI_FTH
ArrUAI_
EXIIIBITIOy
OF'
TIIE
BOOK PLATE IITER¥ATIONAI- &* the Log
Ang.eles Museum' May' 1936.
Open to all.
All media. Jury. AwaI.dS. Closing date, April
10.
Address foI. infOrmatiOn' Wilbur Bassett'
900 Van Nuys Building.. Log Ant5-eleS. Cat.
Washington, D. C.
TENTH
ANNUAL EXHIBITION
OF
TIONAL LEAGUE OF AMERICAN
THE
PEN
XA_
WO-
dfEIV at the Jelleff Gallery of Art' April 12-18.
Open to members. All media. Jury. Awards.
Address for. information: Eve A. Fuller, 8311
Elbow Lane. St. Petersburg.I Fla.
Chicago, Ill.
annual
issue of The S£udl.a Year Book, edited by C.
A.NNUAL INTERNATIONAL EXHIBITION of the
Chicago Society of Etchers at Roullier Gal.
lenet)' Chicago' April.
Open to members.
Media: Etching. drypolnt' engraving.I aquatint'
mezzotint.
No fees.
Awards.
Address for
lI]fOrmatiOn: Berths E. Jacaues. Secretary. 431a
Greenwood Ave.. Chicago. Ill.
G. Holme (The Studio Publications, New
York, 250 illustrations, 6 color plates, 140
pps., $3.50 paper, $4.50 cloth).
Modern 18th EXHIBITION OF THE SWEDISH AMERIOdrv J4j3r dSSOO,Jar,Orv at the PictuI`e Gal_
domestic architecture and decoration roompansive information on the contributions of
eries of Marshall Field and Co.' April O~7-Ma_v
Britain. Mr. Baker interrupts his panoramic
by-room, new products in textiles, glass, metal
9.
Open to Swedish-American artists.
All
media. Fee: $1.00 membership. Jury. Last
and pottery9 aS Observed in EntJdand, America
presentation of the organic development of
date for cards. April 14.
Exhit)its received.
and continental Europe within the last year,
expression in paint to give extended comments
April 16-17.
Address for information: FredCrick Remahl' See.. 3042 Sheffield Aye.' Chiare incorporated in this volume. While the
on the significant geniuses who have shaped
cag.o' Ill.
tenet 6'fitness to purpose" has indisputably
future trends. While enlivened by personal
New York, N. Y.
estimates the book is a monument to and a
proved itself valid in the modern kitchen, the QOth, ANNUAI- EXHIBITION OF THE SOCIETY
trend toward extreme functionalism in other
catalogue of the English nation's attempts
QF INDEPENDENT ARTISTS, at the Ctrana
Central Palace' April 24-May 17. Open to a]].
to reflect its life and interests. Landscape,
parts of the home justifies to the author acMedia: Painting| sculpture.
No jury.
Fees:
cusations
of
|6bleakness,
emptiness,
and
sheer
portraiture and sporting genre are given
$5 membership. No awards. Closing date for
cards. April 3: exhibits received April 20-21.
vacuity... imbecile, with a boring absence
especial consideration.
Address for information: Mrs. M. F. Pach, 148
*
*
*
of any personality whatsoever." Design which
W. 72nd St.' New York. N. Y.
is ''not a process of effacement but a positive
Art in Alphabets and Books
AN_NUAL EXHIBITION OF THE NEW YORK
{The Art of the Book and Its Illustration"
Wd7ER CIO£OZi O£C7B, at the American Fine
thing}" Mr. Holme asserts, can be the means
Arts Building.' AI)ril 16-31.
Open to all.
Fee:
of relieving austerity and of injecting the
by Jam Poortenaar, Dutch bibliophile (J. B.
$1.00 for non-members.
Media: Water color''
Pastel.
Jury.
Closing.
date
for
entries,
April
Lippincott Co., Philadelphia, ll7 illustrations, personality of the owner into a formalized,
9. Address for information: Hart.y de Maine'
40 plates, |82 pps., $7.50).
Beginning with almost mechanized scheme. Much masqueradExhibition Secretary, New York Water Color
Club' 215 West 57th St.. New York' N. Y.
the formation of the alphabet itself, Mr. ing transpires under the name of 66modern"
which is tolerated as ''expressing the age-and
Philadelphia| Pa.
Poortenaar traces the origin and development
let_h,__A_N_NPAL EXHIBITION
OF
AhIERICAN
much good is that to us," says Mr. Holme.
of printing and the tributary arts to the book
'This is merely to {pass the buck? on to the
ZrOff,rvG at the Print Club. May 4-June 3O.
as evidenced in Western Europe, England and
Open to all.
Medium' etching.I
Jury.
Fee
age; whereas it is up to us to do something
5Oc for two prints.
Awards: Char.leg M. I_ea
America. Both technical and aesthetic conprize
of
$100
for
best
print.
closing
date'
which
will
make
the
age
a
little
more
worthy
siderations are lucidly presented.
Specimen
April 24. Address for information: The Print
of expression."
Smartness, novelty and no
Glut). 1614 Latimer St.. Philadelphia' pa.
plates attest successive stages in the evolulittle ingenuity are apparent in the illustration of fine printing} until finally a record is
NIlwaukee| Wig.
tions, but it would seem there is a lack of
AN_N_a_AL-_P_XH_P_ITI_ON OF WISCONSIN PAINTgiven of significant present day successors to
sheer ]ivability in many of the examples.
a worthv tradition.
PPS.` AN_D SCPLP_Ions _at the A..`AlllniiiiTli..
AI)ril. Open to Wisconsin artists.
tnedia.
~
*
*
*
*
A Book on Millard Sheets
*
*
--------
Jury. Awards. Address for information: Nilwaukee Art Institute. Milwaukee' Wig.
A Volume on Tree Anatomy
'6Design and Construction in Tree DrawSouth Bend, Ind.
TH!R.P__ArrU_4L EXHIBITION OF THE MIDing" by Frank M. Rimes, instructor in draw.
±_AN`P_
4`CADE±urr.
AR_T'
_Mat 1iig:1F
-6ti;n
ing at the Cambridge School of Architecture
to Northern
IndianaOFand
southern
Michigan
artists.
Media: Painting.I sculpture. prints.
and Drawing and the Massachusetts School
Fee for members, S.50: for non-members. $1.OO
Jury. Awards. C.losing. date for entries. May
graph, 28 pps., $5).
Matching the clarity of Art (Bridgman Publishers, Pelham, N. Y.,
ll. Address for information, Midland Academy
34 illustrations, 63 pps., $2.50).
Amplifying
and directness of the ascendent California
of Arts. 113 N. Main St.. South Bend' Ind.
artist, Millard Sheets, this monograph sets his advice on tree drawings given in an earlier
volume, ''Drawing in Lead Pencil," Mr. Rines'
forth the reasons for his quick rise to a sewell as the use of media appropriate to their
text and illustrations emphasize the imporcure place among the nation's artists. At 28
representation.
Mr. Rimes, 66tree portraits"
tance of knowing the 66anatomy" of trees as
Sheets has won honors which would be a
illustrate the essential characteristics of various species, indicating9 at the Same time, his
own technique for recording their essential
characteristics. Each plate is interpreted, and
The rate for Classified Adeerdsing is loo per word, per insertion; Thiwimurm Charge
the text is calculated to aid an artist in gain$1.50. Terms.. cash with, order. Each u)ord, iwihal and u)hole rurmber is counted aLS One
word. Address.. THE ART Dlonsrr, 116 East 59th Streets New York.
ing facility in this phase of landscape.
"Millard Sheets," articles by Arthur Millier,
Dr. Hartley Burr Alexander and Merle Armit.
age (Dalzell Hatfield, Los Angeles and New
York, 28 illustrations and one original litho.
CLASSI,FIED
ADVERTISEMENTS
*
ARTISTS? MATERIALS. Orders filled
promptly anywhere. Joseph Mayor Company| 5 Union Square' New York City.
DUCK CANVAS, excellently prepared. 46// x
6 yards' ?5.00. Postage prepaid. Sample
upon request. Payment with order. Artists'
supply price list sent free. New York Central
Supply Company| 64 Third Avenue, New
York.
CLAY, PLASTICUM. PLASTAI,ENA. Sculptors, Schools supplied since 1867. Stewa,rt
Clay Co., 629 East loth Street, New York.
DIAMONI) ETCHING PENCIIJS, Six Dotlars.
Diamond Pointed Tool Co., 123
Liberty Street' New York City.
\VE BUY AND SELL books on Theatre' Art'
and Costume. Kamin Bookshop, 1423-6th
Avenue' CI 7-8393.
QUALITY
Open evenings.
ARTISTS}
RIATERIALlowest
prices. VIrrite for 100 page catalog. Bart
Supplies, 915 Marquette, Mlnneapolis' Minn.
PICTURE FRAhm'S in raw wood' 30" I 4O".
3W wide. $1.95. Many pattems. Agk for free
samI)leg.
Frames sent anywhere.
we indude
pamphlet of instnlctions for doing, your own finishing,I with special low price list for materia]q
used. Braxton Art Company. 363 E. 58' New York.
||RUBENS|9
ARTISTS.
BRUSHES:-Supreme ln quality. Universally used by reE3¥ne;Gag:rt3i2St)?.
Sold by all dealers.
(see
*
*
Vassos and Social Unrest
66Humahities," illustrations by John Vassos
with text by Ruth Vassos (E. P. Button & Co.,
New York, 24 illustrations, ll4 pps., $5.00).
An artist looks at his world, interpreting
through highly st;lized compositions in tones
from white to black, both the white and black
of modern society. In 66Humanities" Vassos
crusades against the ills of the present crisis
and participates in the developing social consciousness which is permeating art today.
I.Education," ''The Critics,', .'The Leaders"
and 6'Waste" are among Vassos, most poignant
conceptions.
The Art Digest, lst April, l9.36
Class Conscious
ln
the
March lst issue THE;
ART DIGE:ST
reprinted an article in which Worth ftyder,
one of the jurors for the 56th annual, e-x.
hibition of th,e Saw Francisco Art Association,
told the painters of TejeC[,ed Pictures just
what was wrong with their work from the
jury9s point of view.
MC)ORE INSTITIJTE
OF
ART,
SCIENCE
AND
INDUSTRY
A number o/ provoca-
tive points cLPPeared in Mr. Ryder,s article,
among them.. ¬¬Gesticulations and sobs in a
gilded from,e are not art."
Again.. ¬¬A true
artist is clea:r about his business9 Which iS tO
solve certain. problems of materinls beoutifully9
alrd not tO Preach POlitiCS nor SOCid reforms."
And9 describing Dowid Park:s «String Qurl;I.
tette" (reproduced in THE: ART DIGEST)..
¬¬W7ithout propagandas without flarmboyant or
exaggerated gestures, Park presents for our
refreshmen,i a new world of visual forTnS,
more moving> more delightful than tlLe Visual
world we kn,ou)." It was these sentences in
particular that caused Michael Chepourkoff
to u)rite cLn anSu)er tO
Pacific Wedrly, ¬¬leftist,9
Mr. Ryder in the
lnagazine of Cali-
fornia. The more pertinent of Mr. Chepourkoff,s comments are printed below..
As a professor of art at the university of
California, Mr. Ryder should have known
that vital experiences of social groups have
always been creatively expressed by their
greatest artists.
The basic force that moulds
art of our generation is the growing class
consciousness of the masses, who are struggling against a decayed economic and political system.
Art that will give frame and
flesh to the cause and solution of this struggle
will be the art of our era.
But these '6social-unrest themes," these
{'propagandists" clo not belong in the realm
of "fine art,, at all! indignantly remarks Mr.
Ryder. "Fine" art and presumably the "fine"
artists are above any such crude realitythough it influences every day of their lives.
Just when and where art and artists abstract
themselves from the reality and become 66fine"
is not very clear. According to some theolo-
gies, angels are in daily touch with world
affairs while saving souls of their baptized
clientele.
Accordint>cr to Mr. Ryder, fine art
and fine artists are above these angels. Both
theories have to be accepted on faith.
It is
much easier to visualize the state of angels
than the state of fine art and fine artists®
Another pet word of Mr. Ryder, '6propaganda," is acceptable in the best society
when it serves their interests. Witness centuries of Christian religious art-and I speak
of the best:
Byzantine mosaics, Gothic
stained glass windows, Renaissance frescoes
and murals and innumerable easel paintings
of saints and madonnas. What an amount of
propaganda and 66i11ustrative factors" are
there! Yet, they are of 66great aesthetic con.
ception," ''genuine aesthetic experience." And
they are. Why? Because they answered at
one time the vital needs and interests of the
masses.
But, if today the bare bones of the
great conceptions are being fed to the people
ale gilded maintenance, propaganda of bygone
ages, they are not ''genuine" aesthetic experience at all.
The vital needs and problems of the contemporary masses are utterly different. We,
the artists, must answer them with propa.
ganda of our own kind. We must find new
plastic solutions, new forms of expression for
the ever-changint,a. reality of today and of
tomorrow. We are the primitives of the new
era.
Because of our labors, new aesthetic
EContinued on page 9_Jl
PhiladelphI'a School of Design for Women
1936-92nd YEAR - 1937
Wi+h i+s enlarged oppor+uns+ies and enriched coursesl the PHILADELPHIA SCHOOL OF DESIGN since its merger with the MOORE
INSTITUTE in l932l in the last decade of its Century of Progressl
challenges the parents and teachers of talented young women looking
to careers as trained artificers in all the Fine and Applied Arts.
Those who have concluded their secondary and preparatory school
training are in a position to profit by the varied four year courses
afforded by the MOORE INSTITUTE, all correlated along practical and
cultural linesl which include instruction in lllustraTionl Interior Decora-
tion, Historic Costume and Modern Fashion Work, Stage Design and
Puppetryl JewelryI Pot+eryl Basic Designing in Color for all the indus-
tries of the dayl Portraitl Figure and Landscape Workl and Sculpture
in the Fine Arts; andl particularlyl all these combined effectively in
the FIVE YEAR TEACHER TRAINING COURSES leading to the
degree of Bachelor of Fine Arts.
To mee+ all modern requirements, the MOORE INSTITUTE h.as brought
together a distinguished and representative facultyl composed of the
following:
Harriet Sartain, B. I.. A., Dcar]
Henry B. Snell, N. A.
paul Gill, B. F. A.
George Harding
Elsie Fincke' B. I..A.
Lucile Howard
MaryB. Hartman, B.F.A.
Emma I. Buckman
Margaret Wadsworth
Eleanor Sale
Arthur Meltzer
Helen G. MitcheII
Samuel Murray
M.Virginia Fisler, B. F. A.
ArrahLeeGaul,B.F.A.
Ida E. Fenimore
Florence Dell Bradway
Esther A. Richards
paulette van Roekens
Betty Dawson M'lller
Richard \^/. Rapp
josef Gerson
Mary Farr DomviIIe
Mary Ctwen Lewis, A.B.
Frances Kratz Schantz
Marion Manning Vogdes
Olga E. TafeI, M.A.
Sarah C. \^/all
Miriam Cone
Sl'donia R. Seipel
RichardHarter' A.M.,PH.D.
PaulDomville'B.S.INARCH.
Nancy Tuttle
Mme. Aussudre Sarlo
MOORE INSTITUTE GRADUATES. as results showl are equipped to face
the practical and artistic demands and meet the commerCiall eduCa+ional and
industrial
possibilities ou+side +he homel as well as the
technical needs of the Twentie+h Century Home in the Machine Age.
consulTaTions for
the
coming
School
Year
of
l936-37
now
invited.
EARLY REGISTRATION ADVISED - CATALOGUE ON REOUEST
Fire-proofl
Historic
Buildingsl
Exhibition
and
Assembly
RoomsI
Projection Rooms, Color Booths, Class Rooms and Studios, Meeting
All Modern Requirements.
RESIDENCE HOUSES on Logan Circle, Philadelphia's famous Parkway
facing and in sigh+ of +he Free Library' Franklin Memorial, Academy of
National Sciencesl the Rodin Museum and the Art Museum.
BROAD and MASTER STREETS
phone s+evenson 7033
Philadelphia
.2:5
26
The Art Digest, 1st April, 1936
STUDY ART IN TAOS
In the glamorous Southwest, land of
lndiansJ desert and Soaring mountains)
blue skies) smiling sun| starry nights.
Sulnm,er Session Jun,e I until. October 1
Truly Native
Classes jn: Theory and Application of
Dynamic Symmetryt Theory and Practice
of Color, Drawing and Paintings in all
Mediums.
Instruction in the principles of
mural decoration and fresco painting.
years of age from the Navajo, Apache, Sioux.
Kiowa, Cheyenne an(I Arapohve tribes, and
15 groups of Puel)los, these paintings were
drawn entirely from memory and imagination.
SPECIAL TEACHER'S COURSE OF
SIX WEEKS
the growth of their fields." Dorothy Dulln
writes in an introduction to the 112 works
on display? "is their expression of kinship
with sky and soil. With sensitive lines of their
Students may enter any time during Sum.
mer Session.
Under personal direction of
EMIL
66As old as the Indian,s (lependence
Wrice for Cabal.ogue
TAOS SCHOOL OF ART
Taos, New Mexico
Emit Bisttram| Director
painting
®KATCHAMAKOFF
ON
ART
IN N,EW YORK CITY
Beginnl'ng
®
AprI'I
2O,
Your advertisement in The Art
Digest will be read by thousands
of them.
Here is what Mr. Browne says:
"I have always found The Art
llpon
Digest a profitable medium
advertising art classes."
is
still
66a
very
living
art."
ceeding the ol(I.
For
THE
(The
The
In giving tangible expres-
SCULPTURE
the
WOOD CARVING
®
®
®
COLOR AS FORM
DRAWINGS
ESTHETIC DRAWING
much the same as it was before the Spanish
conquest, those from the plains must draw
upon a knowledge of tribal culture as told
from generation to greneration and from re.
Registration at
CARL FISCHER ART GALLERY
East 57th Street, New York
home
life
of
the
SoLlthWeSt
Indians
is
S5oBESE ::AcRRSiICENNIS )
Instructors
Personal Instruction in Landscape and
Figul.e Painting
Ilo(llll]"+:
Oil. 1\':.tot. Color, FJt(.hinfLr
:"I(I LithojLrrZ`[)ll.`.
For
a(lI(lI()(I
''..I.I)..,'
ports from the Bureau of Ethnolot,cry9 museum
publications and historical lnaterial for their
life forces an(I forms" and interprets tllem
with universal, more than I.acial significance.
His keen oI)servation and
appreciation
of
nature fin(I ]ogica] expression within the con-
lemme, New York s=ulptol..
fines of tlle Stylized al.tiStiC VOCabu]ary Of his
Beginning Apl.il 6, for one week. the I. H.
and A. C. Friedrichs Company, 140 West 57th
St., New Yol.k, will demonstrate the process
of gilding frames.
An expert will condl]ct
the demonstrations.
If the experiment proves
successful,
weekly demonstrationss will I)e
play at the Brooklyn Museum, while there
are comparatively few references to home life
or ]anclscape.
For his pit)crment the Indian
I
THIS
A
1
th7.Ollgh
O'Hara.
®~8;
Allgllst
2025
0
St..
.3
thr.o.ugh
Washington.
TRAVELLING
®~9
D.
C.
SCHOOL
OF
PAINTING,
ARCHITECTURE
INTERIOR DECORATION and DESIGN
IN EuROPE
Sepl. O_6
Extended
Stay
July
Art
.
ADDRESS:
AMERICAN
Paint with
June 26 - Augrust 7
^MERIC^N ART, DRAWING,
PAINTING, INDUSTRIAL DESIGN
c/o
M.
MASS.
Instructor
George
FOR THE PROGRESSIVE ART TEACHER
CREEK
CLASS.
PROVINCETOWN
Beacon Hl'II Boston School of Design
72 Myrtle Street, Boston, Mass.
SUMMER ART COUesES
ART
BROW
Centers
Elmer
Browne}
N.A.
FIGURE' LANDSCAPE' MARINE,
PORTRAIT' PICTORIAL COMPOSITION,
OIL,
TVATER COLOR TECHNIQUE
Credits given for salary increment purposes.
JULY
1
to SEPT.
1,
1936
Rates by the Week, Month and Season
Write lot Ctrcaelar A
O|RHEGIE IHSTITUTE OF TEOHHOLOGY
Box B - PittfburgI'/ Po.
IS AN
RALSTON
SMELL
THE
- Julle S
in
of
I)ook-I)i:1(ling,
leather-Craft,
and
YEAR
®
in Colorado at the
T\\-o Terms - Four |Veeks Each
EIiot
made
kindred subjects.
HENRY B. SNELL
Goose RockLi Bench - - - hlaine
SIXTII SI-_ASO>-. 1936
Ju,ly
Demonstrations in Craftsmanship
people.
Tribal
dances
and
ceremonials
pro\,.ide
colorful material for these artists.
Warriors,
hLlnting Scenes, animals abOun(I in the dis-
THE ELIOT O,HARA SCHOOL
OF WATERCOLOR PAINTING
Write:
artists:
Peter Blume, Connecticut painter; Aaron
Bohrod,
Chicat>o.o
painter;
Carl
Walters,
Woodstock ceramist and sculptor; Jon Corbino, I\Tew York painter; Peppino Mangravite,
New York painter; Harry Sternbergt New
York etcher and lithograpIler; Doric Rosenthal, Connecticut painter; and Antonio Sa-
..I(I(lI.eS'S
628 \\'It,tiT 21th STREET, >-E\|' YORK
Directory)
sculpture have been awarded to the follow.
ing
Without imitation of any sort, the Puel)lo
rJASTPORT - _|L+I>-E
DIGEST
School
Guggenheim Fellows
painter 6Ccatches the vibrant, elusive spirit of
Eastport Summer School of
ART
Art
address:
The John Simon Guggenheim Memorial
Fellowships for creative work in painting an(I
knowledge of the past.
ELdorado 5-4845
particulars
finds opaque water color or oil thinned with
turpentine and
applied without traces of
brush-work well adapted to his predilection
for flat' shadowless areas of brilliant intensity.
ITand-ground earth colors serve admirably for
fresco.
sion to their heritage they are working for
their own people as well as for others. While
I936
for
GEORGE ELMER BROWNE.
students are urged to perpetuate only the old
forms which they can appreciate and under.
stand, to develop new forms worthy of suc-
®
61
right now is beginning to make
up his mind as to which school
he will attend this summer.
yucca brushes they captured the lightning,
the cloud, and the falling rain, the slln and
the sprouting corn for the walls of their
ceremonial rooms an(I for the vessels whicll
held their food. |Art for art,s sake' it was
not, bLlt art for the Sake Of life."
Despite the maintenance of tradition, Indian
BISTTRAM
CLASSES
THE ART STUDENT
Paintings by American Indians from the
United States School at Santa Fe, N. 1\,I., take
their place in the Brooklyn Museum,s Gallery fol. Living Artists, through April 12. The
work of elective classes for students ll to 2l
Box 82
BROWNE ART CIJASS
Provincetown, hlass.
RANCH
C.
BOYD.
.
AUGUST
BLOOMFIELD'
N.
I.
TI.e Art Digest, lst April. l936
2I
A Review of the Field in Art Education
(Mr. Ryder,s italics) and concern themselves
with the creation of a sort of visLlal music,
[Conlinlled from page Z5l
tinguished
(Italics
Romanticism
at
that;
because,
I)asically)
Romanticism is an escape from oppressive
and hard reality in a dream world. The Dark
Ages in Eul.ope grave birth to Romanticisln.
The art of Delacroix coincided with the worst
new
Class-conscious
Realism of what is taking place even in the
66richest" countries-then it is "soap-boxing
in Union Square," 66gesticulations and
in a gilded frame!,'
What does Mr. Ryder propose?
To insure tranquillity in future
}Ir.
Rvder
proposes
ceJ}SOrShl.P.
sobs
annuals,
66I-Iave
the
jury ac't as a committee charged with the task
of canvassing the studios and making selections.9'
With an eye on social-unrest themes'
the committee will have splendid opportunity
to put on the spot all subversive ten(lencies
of the prospective exllibit.
Here is another step in the right (lirec[ion:
Since it is only human for some members of
the Sam Francisco Art Association to commit
socially-restless, etc., sins, Mr. Ryder proposes
to I)lockade these members by eliminalingr the
jury-free clause, "which forces the jury to
accept at least one painting from an artist
member of the association." How much more
comfortable it would be for the 66tired" jury,
how well it would please the 66patrons'' of
art, if the artists would but march themselves
under the banners: 66It is Cool in San Fran.
cisco," and 66Sunshine and Opportunity in
Log
Ant,creles"...
and
ol)ecliently
forget
2t)CZn!
a.£
fO
be.,,
An(I
a
INVALUABLE
service
all
social.unrest, etc., themes.
Now comes a gem of advice to young artists: ¬'When more of our yount,rr artists cease
jury of award: Lewis E. York, Henry Emerson Tuttle and Ray Weiss.
Francis Scott Bradford won the New Haven
Paint and clay Club prize of $100 6'for the
best work of art in the exhil)ition,' with a
(lecorative
figure
study)
"Detail
From
a
MuraP
The 6'best landscape" was Frederick S. Hynd,s 6Tlle HigI"Way" (the John I.
H. Downs prize of $100). Ralph H. Humes
won the $50 scLllpture prize with a bronze
66Whippet," while Deane Keller received the
TEACHERS
and
BuREAu OF UNIVERSITY TRAVEL
13 Bo.vd Street
Newton. Mass.
COLORADO
FINE
[foI.merly
SPRINGS
ARTS
CENTER
Broadmoor
Art
Academy]
Colorado SprI'ngS| Colorado
Summer School, June 29 to Aug. 22, 1936
IJife Chtf)sea - - - Bo||rdm11n Rot,inson
Landscape Clllfls - - - - - Paul Burlin
Et<.llinL' & IJithOgrZIPll}. - Cl)zlrles I,ocke
ApI|lie(I GraI}lli{. Arts - \1'llrren CllapI}ell
Sc`llpttlre Class if requested b.+. a
fl|tffi{.ie'lt ||ttmber®
Tuition for. each a.lass - Sl5.00 for fourweeks
Evenint,- Life Class
- $8.00forfourweeks
-.ldd,.a.9S.. Stzlnle}- IJOtllrOI}, General Director
$50 members, prize for a portrait of Particia
Ryan.
Honorable mentions: Isabelle Tuttle's
paintingt 66Cyclamen,"
colored
wood
I)lock,
Mexico."
TO
Gel.tifiCateS Given
for Collet,-e
School Board Cl.edit
New Haven Prize \X/inners
of empty human guts-which is not Romanthe
2t)e
With exhibits from many sections of the
collntry, the New Haven Paint al"I Clay Club
has just helds its 35th am"lal show,-l49 items
in various meclia.
Arthur Covey was chairman of the jury of selection, which included
Deane Keller, Beatrice Kendall, Elizabeth
Luquiens, Josephine Pad(lock, Theodore Sizerl
Ethel Stauffer and John D. Whiting.
The
artist portrays the music going into millions
bLlt
exhibition
mine)®
Noble, cultural words.
rendered, deservingr reward.
political reaction in the l9th century.
The
present conditions of life are conductive to
Romanticism; but they are also conductive
to a new class-conscious Realism.
Romanticism
is
66acceptable'.
when
four
people'
6.String Quartette,'' play catgut.
But if an
all,
ENGLAND' BELGIUM' FRA>'CE, GEE-MANY'
AUSTP`IA' SlmTZERLAND' HOLLAND.
CZECHOSLOVAKIA
genuine yearning that all men have for beauty,
and they will make the annual the dis-
Romanticism ptlre an(I simple. a high-school
at
Professor Ralph Fanning.
Ohl.o State Unl'versI'ty Leader
with making picture planes that glow-then
they will do much towards satisfying the
experiences will be born for the new generations.
If this is propaganda, let it be a
hundred times stronger.
The (6String Quartette"
. represents
ticism
T±JU ROPEAN ART TOUR
intellectualizing? revitalize their sense of sz'gA,
Class Conscious
JULY - AUGUST - 1936
THECAPESCHOOL
OF ART
and Wuanita Smith|s
66Little
Potters
of
HENRY HENSCHE, I,!¢fracfor
(formLerly
An Interpreter of the South
th,e
Cod
School
of
Art)
Address the Secretlary.
Jolm
McCrady? yount3Cr
American artist
whose life in the South has enable(I him to
interpret that region, is showing a group of
canvases at the Boyer Galleries, Philadelphia,
until April 8.
assistant inSt1.uCtO<r ¬n)
Cape
PROVINCETOIVJ:`.I MASS.
i
According to one critic, McCrady has seen
the south 66through an eye that is both acute I
and lyrical."
Attuned to the people and the
scenes about him, his interests have found
expression
"in
bold,
silnPle,
richly toned
surfaces that frequently acq"ire a beautiful
opalescent (lelicacy."
LYMAN
SUMMER
ART
CLASS
IN THE IJAURENTIA*T HILIJS
Saint-Jovite, Quebec
JULY
6th
-
AUG.
e9th
|hr|.ite for information to
lOHN LYMAN
3459 Park Ayenue| Montreal) Canada
BROWN COUNTY
SCHOOL a/ IANDSCAPE PAIr\rmNC
FONTAINEBIEAU
SCHOOL
OF
FINE
ARTS
palace of Fontainebleau - France
RATES 277o LOWER
JuLY lsT-ToSE?"B-ER Is+
conducted by a. C,URRY BOHM
"
plcTuRESQUE.
lllLLY.
SOUTIIE"
lWDl^W^
with ideal accommodations at the Quaint Old Nashville House
SEASON OF l936
season be|!ns Juno 15... I,or Rese-tions and Partloulars
write... c. curry Bohm, Nashville, Iud.
Architecture - Painting - Sculpture - Fresco - Interior Decoration - Design - Etchingcatalogue:IloEast19thStreet,NewYorkCity
RI CHMOND SoCFHAOROTL
Affilia.ed wi.h Wil iapr & Ma_r ¬oPleg_aFouryearcourseleadingtOB.ofF.A.Degre .TwoyearProfes ionalCourse.Minimumchargeincludingboard$580-cS.6,6,Oe.ge2co,riTi ,tioersrf`ovrri,ewof=ren,BuYit!niDr.H.I1.l iI)bs|Jr.,Director,224SIlaferSt.IRlcIlmOnd,Va.
THE
HANS
o[[ine
HOFMANN
arts
in
new
classes
in
drawing
and
painting
aflernoonsl
eveningSl
lectures.schoolterm:October
tuition
monthly
or
137 EAST 57th STREET
SCHOOL
b y
.
®
ls S tat
york
morningsL:
turdavsyl
i
a
em
!
:I
®
e? I m
PLAZA 3-7439
MER SCHOOL
©ASPE 3uFM PAINTING
3rd Season
at peI.C6 on :h,e pict,".I.eSque Ga.spe. Peninsula
FOR BEGnINERS ANI) ADVANCED PUPILS
JULY 27 - AUGt-ST 28
Catalogue and Photographs
g306 Washington St.,>'ewton LowerFade,Mass.
c728
The Art Digest, lst April, 1936
FASHION ACAI)EMY
Buffalo's Annual
SOHOOI/ OF FAMOUS GRADUATFXS
INTERIOR
CostumeDesl'gn.Styling. Fashion
Art for Tradet Screen and Stage
StylingJ fashion fOreCaStlng| testile design,
color
psycholog)I,
fashion
illustrat'ion.
"
SI)eCiali7.ed training under
workers.
Supervised practice.
Short
courses
for
those
desiring
cultural
work.
E_\IIL ALVIJ.\' HARTJ|IAN America,s
Foremost Instnlctor
of
Fashiot)
Art.
Z'as^?'o7a
_.lC.C!der,?1y
stands enlpreme as the schooZ chosen by the wo1.ld'S
most successful I)estgner8 & Styli.a(s fol.thetr tratntng.
30
ROCKEFELLER
PLAZA,
NEW
YORK
a
Request Book
SUMMER
SCHOOL
NANTUCKET . MASS.
ll
apply
Hollywooul
lot
booklets
LUCY D. TAYLOR STUDIO
of INTERIOR DECORATION
Art Center School
PRACTICAL
COURSES. ALL
BRANCHES OF
ART. DAY OR
HENRY LOVINS,
Dl'rector
3305 WILSHIRE
BLVD.
EVENING. ASK
FOR CATALOG.
19O5 No. Highland Avenue
Hollywood' California
LOS
DECORATION
Three
year
course
with
certificate
for
professional
I West 64th Street, New York Citry
ANGELES
: =:= =:
TRAPHACEN SCHOOL OF FASHION
1680 Broa{]way
(near 52(I
St.)
New York
Into-ationa|ly Celebmted Graaluates
I]|tensi\.|` Six \Veeks, Su|nmer Course
Costume Illustration and Design. Also
California School of Arts and Crafts
k'
Courses leading to the Bachelor's
degree in Flue Arts, Applied Arts,
and Art Education.
Also certlflcate
and
diploma courses.
Beautiful
campus, deHghtful climate; dis-
thuned faculty.
Interior Decol.atio]l' Stag.e. Textile Desit5-n' DIaPint>o.' Fashion Journalism.
Life Class. Da.\. and Evenil1_a.. School
incol.I)ol.ated under Ret5O.entS. Teachers
AleI.tneSS Credits. B. of E.. g.iven. Send
for Oil.Cular 11' or Phone Col. 5-2077.
mVESTIGATE
30th Summer Session Oprms
June 29. 1936
..Eve:'
Write F. II. Neyer' Dil`ectoI.
For Catalog ..I)'.
Oakland
by CIbarles O.Domell.
Awarded
the Menno Alexander Reeb Sculpture
Prize at Buffalo Annual.
Californl.a
|`-
BEFORE
REGISTERING
ELSEWIIEnE
WORCESTER ART MUSEUM
SCHOOL
24 HIGHLAND ST., WORCESTER. MASS.
Rangring from conservative oils to an elec-
Pro++ lns+i+u+e
School of Fine and Applied Ar+s
Architecture, Ad'ertlslng Illustration, F&shloD Illu8tra
tlon, Indu8trlel De8]gD, Interior Decoration. Plctorlel
Illustration. Te.chef n.lnlng.
I.nuar7 .dmi8SIOn CI-
cept for keecher n.lnlog.
38
Studios
91
Instructors
49th
\'ea'
trically operated mobile, the Third Annual
Exhibition of the Artists of Buffalo, on view
until April 5, contains 2ll works by lO7 artists, chosen from 580 works submitted. The
display was termed by Edward Alden Jewell,
art critic of the New York rL'mCS, "the finest
regional exhibit he had ever seen."
Martin Baldwin, Toronto, Clyde B,urroughs,
Detroit, and Henry Sayles Francis, Cleveland,
served on the jury of selection and award,
nominating for first honors .'New England
Port" by Anthony Sisti. Honorable mention
Individual talent developed by successful
modeI`n artists. Drawint,a.' Painting-. Scu]ptuI.e'
was accorded Mrs. L. B. Sternberg,s "BeachIllustration.
Advertislng.
General
Desig.n.
Cloudy Day," and Walter L. Gordon's 6'Still
Costume Desig.n. and Interior Decoration.
Life." 66Eva" by Charles O9Donnell won the
Pgu__apd Eve_ming Classes - - - - catalogu6
?O2)1
Grand Central Termi-I, n.ew I.ork Cit}.
sculpture prize, honorable mention going to
I.,-v -.,.,,..,..,.,..,---,--::.-I.-r=,=j-I---f=--rf-±=.,..I-=±-i
.6Sea Lion" by William H. Gratwick, Jr. The
Catalog on Requc8t
I.met
C.
Boulr...,
Olroeter
Brooklyn.
New Yor.
CR4ND CENTRJ|L
SCHOOL OF ART
Patteran purchase prize for "the most meri_
torious work in the exhibition', went to Mrs.
Louisa W. Robins.
66Outside the Campo-Santo, on All-Soul's
CEORCE CROSZ
ART SCHOOL
CLASSES IN DmWINO, PAINmTO IN OIL AND
WAm colon, ILLUSmAnON ANT) COMPOSITION.
- - _F\_e_gi_.t'ation now going on - R®®m 22O2, 745 Fl.flh Aye.I N. Y. C.
Plaza 3-7242
Day in Guanajuato" was chosen for the permanent collection of the Albright Art Gallery.
For the "finest water color" Michel Nasca
won first prize with wAutumn Still Life,"
Rixford Jennings, honorable
mention with
.Tarmer's Sunday." The '.finest prinP was
Su m ma I a:xLdgne,eska:e;sgiro,Fs,::;.a:ar#.esra.lpeanr: Niels
June 29. Fine Art. Industrial
ART
Art. Teaching. principles and
Technics. Marionettes' Landscape.
eta.
Painting Courses also of-
aa u Is es !f3rcekd. £3'chlfgualln. eSrcehd:tola!f Spaaii.?-lng.
ART
Dept.
A.A.I
Request a:ltalog.
INSTITUTE
Michigan
^ve.
at
OF
Adam.
CHICAGO
Chicago'
lmnois
Yde Anderson's "Niagara Frontier."
Albert Julian Johnson received the Y. M.
C. A. purchase prize, to be presented as a
trophy in a membership drive conducted concurrently with the exhibition, with a painting
'.Winter's End.9
NAUM
M.
OF
LOS
ART
SCULPTURE - DRAWING - P^lNTINC
NEO^LLl¬
ART - CONSTRUCTIVE
MOl)ELLING OF ^Nm^LS
^N^TOMY
Individual instruction daLy and evening.
Catalog on reduest.
2e Ea-I Goth Street. PITew York City
H. STUART MICHIE, Prjarj¢a/
SCHOOL OF THE
MUSEUM
OF
BOSTON
FINE
ARTS
Life Paitltillg - Drzl\`.i]lg - Sc.ulI,ture
ComI)OSitiO|| - Anntomy
General &. II|teriOr I}esign-Advertising
"Je\\.t.lr}- an(I Sill.erslnithing
Tuition and Tl.a`.elling Scholal.shil)s
Awarded Annuall}.
.
[llusl,I.ated Cat(lt()g
235 I'en``.:|}-
KE|-more 'r=,866
|825 - B^LTIMORS - |936
Uourees in Fine Arts. Teacher Training| Craft.'
Advertising and Costume Design. Interior Deco.
ration. Stage Craft. eta. Catalogs On requeet.
.W AIHMAIN NDNMfS |
Summer
I.ortrait
Claf]fl
ill
the
A|lirondackc
June
15tl|
to
October
let
Addrestl Scc.retar.I.: Eliz.abethto`rm' N.
I-.
Dr. William M. Hekking} art critic of the
Buffalo
SCHOOL
Three-year courses in DcsigD. Drawing at)d
P|inting. Modeling.
Metal \L'ork. Jewelry.
Pottery. Weaving. Day aLnd Evening Classes.
Catalogllc sent on rcqucst.
Et/en®'ng IVcows,
said:
wThe Albright
Art Gallery in definitely accepting the responsibility of an annual local art exhibition
... has taken an important step in the edu.
cation and development of art and art standards in this part of the country."
George B. Washburn, director of the gallery, re[,-ards the present display as the finest
exhibition of Buffalo art ever to be held.
EEF --_ -:-i==_=:-.---i:--:-I.._--=- --.-- --I---.=-==-:i:THE
ANSON
I(.
CROSS
VI'SI'On Training Schools
Personal or home c.ourse.a that turn failure
into success for. art,iSt,S and free St,udentS fI.Om
MIAMI ART INSTITUTE
I. BORDEW HEWMAH,
FINE
a
Individual
DmECTOR
Instruction.
A+TTP.Ll# 9ruotf:stsa,nodnianl g sEaancdualrtdys:
PHASES
for information' address..
see. a. a. Wardi"39SE.6St..mamiJIa.
Woods+ock School of Pain+ing
June
89
to
Sent.
5.
1986
XONRAD CRAMER
YASUO HUP5|YOSHI
CHARLES ROSEN
JUI)SON SMITII
TERM OF TEN WEEKS - $75.00
FOUR WEEKS - $35.OO
fOR
CATALOG
ADDRESS
JuI)SON
SMITH.
DIRECTOR
\\'oodstock - Ulster C||. - |'e\\. I-I)rl{
copies and met.hanical measures b.v tI.ue Vision
and original
technique.
_4dd,c.I..`..
ST. PETERSBURG, FL^., 429l/2 loth ^ve. So. (WInter)
BOO"B^Y
HARBOR,
MAINE,
3
Bay
St.
(Summer)
TEE ALRT Dlor:sT Offers a Vast market for
de,alers an,d, manllfaclurers of artists, materials.
For rates= ad(lress.. 116 Ease 59th St.9 N. Y. C.
The Art Digest, 1st ApTtl, 1936
WINOLD
ART
+®-
In Stuart Times
REISS
PENNSYLVANIA ACADEMY
SCHOOL
COURSES IN DRAWING PAINTING, DECORATIVE DESIGNING,
MURAL PAINTING, SCULPTURE
OF THE FINE ARTS
phHad®lphia
PARK
nIONTANA
WRITE FOR BOOKLET
OUTSTANI)"G ARTISTS
PIIASES OF ART
Philadelphia
TEACIHNG
chester
students.
ALL
School
connected.
Six
School-Broad
and
Cherry
sI)rings Summer ScllOOl-Resident
WRITE
The school of the Ringling Museum.
Outdoor classes
all winter.
Animal study at Ringling Circus winter
quarters.
Special classes for I)rOfeSSiOmls and those
interested in art as a hobby'
FOR
I.
T.
Summer
Term
of the
AND
EVENING
ERASER,
Jr.,
Curator
NEW YORK SCHOOL OF
ln Fline Arts, Ad'ert18lng Art,
Fashion Design, Illustration, Industrial Art, PhotograI)hy, InEnd®w||
2uecoJmlil,on.winter,
and
¬¬Letiha Uppleby>,9 by Adriaen Hanneman
(160l-l67l).
"Letitia
Uppleby}" a portrait by Adriaen
New York Ceramic Studios
Hanneman, who was influenced more by Van
Dyck than any other artist, has been purchased
by a prominent Western collector from the
Ehrich-Newhouse Galleries of New York. Very
few details of Hanneman's career in England
hIAUD M. MASON' Dlr®ctor
are known-he lived there for about |6 years
Dow and Evening Cla88e8.
and left for Holland in or about |640, before
the outbreak of England's First Civil War.
MIN)m^POHSINSTITtJTE®/ARTS
ZOO Eaet Twenty.fifth Street
HIT(NE^POLIS
.
HINHESOT^
THE PRINCIPLES OF DESIGN I BUILDING AND DECO.
R^TIN¬ OF POTTERY FORMS I CERAMIC SCULPTURE
EAST 39tll STREET
1.ETV YORK CITY
l6O Lexl.ng.on Aye.I N. Y. City. 44th Year
T®xtll® Designlng| Interior Archltocture,
Fashion Illustration. Life ClaB.I
Decorative Design, Poster
Po8itiOn8 and Orders filled.
Corcoran School of Art
WASHINGTON, D. C.
Free-Annual
Entrance
Fee
$25.00-Day and Evening Classes in
Drawing| Painting, Sculpture, Composition. For informatiom and Prospectus'
address
Mldyoar
Term
Painting.I
How
Be®lnnlnI
Sculpture.
De-
scI|OOL a I :ifanr?o?svteur#S:ng:nldndlun8:
terior-Teacher Training'
ART
Illustration. Not operated for profit. Moderate
tuition. Send for catalog.
charlotte A. Partrld|e, Dlreeter
z8 Lay'on A't Calle'y' Milwaukee. WisconsI'n
GEORGE
BERKSHmE HILLS
B AER Summer
WEST _ CORNWALL
School
cw?i!?N;.;TIoaC!¢l.Tar
of Art
Benton
Design,
summer
Tem
l5tll.
Fall
Term
October
- - Catalog on I.eque8t - -
For professiomls,
§EUstIMoENR
g^i:eL:;as sBe&d ^f;r22g#loB¥oe;.Way, Now Y®rk
teachers, 1a).men.
Credits
!EtJFsMIER- STARTS JUNE 29th
DRAVINC ' PAINTING. DESIGN. INDUSTRIAL
AND STAGE ARTS. DRESS ARTS. INTERIOR
shire for severa1' centuries-ne Thomas de
Epulbie has been traced in the 13th century
yeaLr. I)ate of entrance and Period Of Study
optional.
A g.enuine Art Spirit pervades this
art school. Illustrated catalog upon request.
and descendants are
country. The name
most common I)eing
arms are more or
sT.
PETERSBuRO
WINTER
SCHOOL OF ART contI.hue your
still landowners in the
has several variants, the
Appleby. The coats of
less the same, and the
family motto is "etus secundiS." Of the
subject of Hanneman,s portrait there are nO
biographical details.
For catalogue addreee
clara MacGowan, president of the Chicago
society of Artists and assistant professor Of
art at Northwestern University9 Will hold an
exhibition of her western landscapes at the
Delphic Studios, New York, from April 6 to
20. These paintings include scenes in Glacier
National Park, the Cascade Mountains oI
washington and the Grand Canyon in Arizona,
where the artist has been working the past
two years.
Miss MacGowan has a background Of experience and familiarity of many years with
the west. especially the Northwest, where she
has lived. She has travelled extensively both
in well known and remote sections of the
mountainous regions, finding ample opportun.
ity to study and paint this mgged country.
This is her second New York.-;how.
on Cape Cod
5th.
44O7 Warwick Blvd.. Kansas City, Mo.
pal.nting in FIorida - - - Jab. I - April I
Damarlecotta Summer School ®f Art
at I)amari8COtta. Maine. '. July 1-Sent. 1
s. peter wagner... Rockvlll.I Maryland
summer School of Painting
for Painting and Drawing.
lllustration.
Fashion.
Advertising Design, Scull)lure.
June
slx
WEEKS.
OTIS ART INSTITUTE
Ravestyn and of Daniel Mytens.
The portrait of Letitia Uppleby, which A SCHOOL OF FINE AND APPLIED ARTS MAINTAINED BY
TIIE COUNTY OF I.OS ANOELES AS A DEPARTMENT OF
dates prior to, or about, 1640, is an important
THE LOB ANGELES MUSEUM
24OI Wilshire Boulevard' IJOS Angeles' California
addition to the list of Hanneman's works.
in_irty-eig.ht classes beginning and advanced.
The Uppleby family has existed in Lincoln.
work outdoors or indoors 12 months in the
JERRY FARNSWORTH, N.A.
THE KANSAS. CITY
ART INSTITUTE
Thomas
Interior
President
JULY 6th-AIJGuST 14th. Intensive, practical
c.uurses in IIouse Planning a I)ecoration;
costume Illustration; Oral)hiC Ad`.ertising;
Life Drawing; Lectures. Also u.eekl}' units.
H. Collins-Baker, in his book on 66Lely and
Will Show Western Scenes
MISS AGNES MAYO. ScorcCary
LAYTON
Odom,
I
(parsons)
the stuart portrait Painters," dealt briefly
with Hanneman, who was a pupil of A. Van
NEW YORK SCHOOL OF APPLIED
DESIGN FOR WOMEN
Tuition
M.
COURSES
Summer cl&sBe3. Send for catalog.
114
Day
beginning
wMliam
s OHO OI. g#o£l.
Streets.
and
BOOKLET OF SCl]00L WIIICW
INTERESTS YOU
FINE AND APPLIED ART
A\Tt
(E8t.
Junior College and Music
weeks'
Jsun:;5;:o;m.it;rl;esfrite|rSogiidissE)sX
DAY
(Summ®r)
g;teyc.ial per:leinTingal.glascsle=.ses D:3rart=eFln:BnerO8;
painting' sculpture' Illustration' Mural Painting: also a co_ordinated course with the Unl.
versity of pennsylvania. B.F.A. degree. EuroDean scholarships and other Prizes.
lam+GLII+aschrLlt of
OF
Pa.
18O5.)
City and Country locations; uneXcelled equipment for the complete profos8iOnal tra/ining of the artist. Distinguished £aC-
Summer School
FACULTY
(Winter), CIIeSter Springs'
oI-I)PST fine arts SChOOIS in America..
IO8 WEST 16tl| STREET, NEW YORK
GLACIER NATIONAL
29
lJandSCaPe,
PortI.ail,
watercolor.
Term:
wri(e
C':yet(Zczr.
/a/.
Still
Jul.v
1
Life,
to
Address:
Oil
Aut,-ust
and
31.
Secretary,
I-arnswortll Summer Scllool, N. '1`ruro. }I!lss.
Cleveland
School
of Art
Cleveland. Ohio
Four,year Courses in che
Fine and Applied Arts
Illustrated Cacaloo A on Request
New Orleans
Art School
CONDUCTED BY
THE ARTS AND CRAFTS CLUB
oF NEW ORLEANS
couRSES IN THE FINE a APPLIED ^R!TS
Catalogtl;e8 On Reaucot
712 Royal Street
New Orleans' `La.
ArtAcademy of ¬'lncinnat]
Founded |8®9
Moderate tuition fees. Day and
nig.ht classes.
Professional
training in fine and applied arts.
summer Term : June 15-Aug||st
8.
For information nddreSB
WALTER H. SIPLE, Director
Art Academ.`.
Cincinnati. Ot`io
co
The Art Digest, lst April, l936
Great Calendar of U. S. and Canadian Exhibitions
BIR}II>TGIIAM' ALA.
Public I.ihrnr}. Art Gallery-Apt.il:
water colors' Birmingham Art Club.
Oils.
l|IINNEAPOLIS, MI*.N.
Institute of Arts-To April 15: Views of
_\IO>`TGOMERY' AIJA.
_tluseum of Fine Arts-To April 16: Southel.n
:erincteTl:.kers.
watel. colors,
IJOS AhtGELES. GAL.
Edmond C.
Botll`l.all a. Cooke-To April ll: \Vater
colors, Elmel. Plummer.
Foundation of
1|.astern Art-April: California crafts.
Log Angeles Art Associ¬ltion-April: Cartoons and caricatures.
Beum-April:
Scull)tors'
IJOg Angeleg Mu-
17th annual Painters'
and
exhibition.
OAKLA>.I). CAL.
Oaklan.I Art Caller.v-To April 8: Annual
exhibition, oils.
SA-T\T FRA>.CISCO' GAL.
Art Center-To April ll: Oils' Gene\.e Rix-
de Lappe.
April 13-25: Oils' Phyms
paul EIder a. Co.-To April ll:
Dra\`.ings' lithographs b}. -\TuI.a.
Apl.il 13-\Iay 2: I.Designs" by Henri Bowden.
S. & a. GIImI' Co.-To April 4: Paintings,
prints b}. BI.OOke War.ing and Eula Long.
April 6-18.. Water colors' J\/Iaurice Logan.
Salt Frlln.is(.a Museum of Art-To April
8: Abstl.ac.t art by Braque' plc.asso; etchings, JoseI)h Raphael.
April: Deeorati\.e
al`ts exhibition ; I)aintingS, Julia Codesio.
\SAIXTJ\ BARB.+LtA. GAL.
Fn.irlkner _|Iemtl.rial Art, Ga]ler.v--April 5-May
;fient;:e=i:Itis:gsrids:nobnvauGgrlnnl.ble6la g#oa`:'I::.
DE|'\,.ER. COL.
}Iusellm Of Art-To April 15: Water colors.
mural designs b}. I. Noel Tucker; oils'
Hares Lyon. To April 22: Woodblocks in
color (A. F. A.).
April: Fr'ench land-
scapes' Jolm Edwal.a Thompson ; paintings
(Vose Galler}., Boston.)
>`I"l' IJONI)ON. CO>t>..
L},man All.vn .`Iuseum-AI)ril: Six centul.ies
of drawings.
WASIII¥GTO}.. D. C.
Arts CIul-To April 4: Etchings, Marjorie
Ryerson. cor{.oran Galler}. of Art-April
4-May 3: Paintings and drawings of ships.
President Roosevelt's collectiolh
Jeuefl.
GaIIer.+- of Art-April ]2-18.. loth annual
evlxrohLb!tri.on, IuLbelf(gueLibrO,`f'.`.L±AmperriilC:an waPtee:.
colors, Eugene Weisz. unite.I states +\'at.io-I Musellm-To April 26 : Prints, Albel.t
L. Groll.
UIli`.erSit.\-
GAIh-SVILLE. I`LA.
of FIorida-To April
6:
Southern states Art League.
Oils'
C'HICAGO. ILL.
Art IIIBtitute---I 5th international `+.atel. colo|`
exhibition.
(`hi(.atro Galleries Association
-To April 8.. Work b.`' Frank V. Dudley|
Oskal. Gross, Mar`'in cone, Alfred J.
Wands.
(`hicllgo `l.oman,s club-April:
Paintings, Mrs. Ira A. Newman. palette
and ClliseI Academ.+.-April 4-30: Blac.k a
whites by members.
EVANSVII_LE, I_`'b.
nlusellm or Fine Arts-April : contemporaI.y
European and American paintings (Duncan
Phmips Memorial Gallery.)
RICHMO}`I). I_`'I).
Art Association-April : Indiana al.lists.
LAW.RENCE, KA}`.
Tha.+.er -\Il"eum-April 5-20: Work b}, Karl
Matter.n.
Wichlta
Art
1|'ICIIITA. Kant.
-`Iuseum-April 4-24:
Com-
I)etiti\.e exhibition of women I)ainterS.
LOUIS1'ILLE' KIT.
I. B. S],eed _`Iemorl&] _\(ueeum-To April 13 :
Paintings from corcoran Biennial.
(A. F.
A.) ; water colors' Hal.Old Weston' model.n
paintings (Museum of Modern A|.t.)
A1\`I}OVER, MASS.
-4LddleOn Ga]ler}. .,f American Art-AI)ril:
-\Iodern French and swedish glass.
BOSTOh', '`IALSS.
_+ITSellm Of Il`ine Arts-To ApI.il 12.. AmeI.-
lean textiles.
Boston Art Club-To ApI.il
5 : Landscapes, Anthony Thieme : portraits'
Gardner cox. Doll a Rlchtlrds-To Ap|.il
18:
Skiing
I+.ater
colors,
Dwight
a.
Shepler. Guild of Boston Artists-To April
ll: Paintings' Marguerite s. peal.son.
Gra.,a Horne Gl.IIeries-To April ll:
Watel. colors' Homer. E. Ellertson, PeteI`
Teigen ; pastels' Aline Kilham.
2\`ORTIIAMPTO_`T. MASS.
Smit.ll college-April 6-25: American water
colors.
S(}L`TII
Pal.is, Charles
Chinese bronze
ture.
_\`asll
Meryon.
April:
vessels; Jacobean
Conle}-
IIADLE1'. MASS.
hlt. Fol.`.okc College-April:
Water colors,
Sprlngfield artis.ts.
1|'ORCESTER' MASS.
Art ++Iuseum-April 8-26: Dr.awings, lithogI.aPhS by Esther Williams.
April ll-26:
Collection of Baron Dan.
Hal,AMAZOO' _`IICII.
Institut.e of Arts-April: Lithographs, Rock-
Early
furni-
Co.-April
Lithographs' temperas, Adolf Dehn.
4-18:
KANSAS CIT1', MO.
..1rt lllBtitute-April 5-27: Ruth Reeves exhibition Guatemalan textiles and original
designs.
Nelson Galler.v-April: Annual
Amel`ican
I.xhibition
(Art
Institute'
Chicago. )
ST. LOUIS. nIO.
MILIJS COLLEGE, P. O.. CAL.
Mills College-To May 3: Japanese art.
fol.a Sargeant.
\`,OIL Kent; oils, water colors by Jean Paul
Slusser.
Cit}. Art Museum-April 6-25:
sc.ulpture, |Vaylande Gregory.
OMAHA, _\-EB.
Ceramic
-\Il-icipal Univer8it.1.-To April 17 : "Great
Foreign Illustrators of Human l`elationsh].I)s."
MA>`CHESTER' h`. H.
Curlier Gllller}.-April 6 25: Paintings from
_\`ational Academy of Design (a. A. A.) ;
-|meI.iCan Water Colol. Society (C. A. A.) ;
_April: Orrefors glass ; prints, Otto h.uhler.
IJEOh'IA, -\'. a.
Leoni(I Gra.mm»r Sc.hoot-April ll-19 : ||Tol.k
by local artists.
l|IO1`TCIJAIR. `'. .I.
}Iont..klir Art Museum-To April 19: Paintings (Grand Central Galleries.)
ALB^_XY, _X. +'.
Int)titute of HiBtt,r}. & Art-To Al)ril lS:
Sc.ulptul.e) Alice Morgan \Vright ; Societ}.
of American EtcheI`S; Oils, Robert DavidSon.
BUI.`I(`ALO, _\'. I.
Albrigllt Art Galler}--To Al)ril:ll: |Vork
by artists of Buffalo and lVestern _\Te\+.
York.
April 5-25: National Print Sho`\..
BROOKLYJ:\TJ N. I.
Brookl.vn Museum-To April 23: Glass exhibition. April 4-June 1: Five centuries of
miniatul.e painting.
GrzLnt Studios-April
6-28: Brooklyn Society of Artists; annual
watel` color exhibition.
ELMIRA, -``. 1'.
Arnot Art Gllllery-April: Paintings, O. _\I.
BrauneI`, a. M. S. Medjo; W. K. Stone,
Kenneth VIrashburn.
+XB\+t YORK, X. +.
_\IetroI.O|itan .\IuBeum Of Art (5th A\.e. at
42nd)-To April 26:
Work by John La
Farge. To June: Winslow Homer, Arthur
Boyd Houghton Centennial. Acndem}. of
_|Iedicine (103rd at 5th Aye.)-April:
Physicians Art Club. Americt|n Folk Art
Gallery (113 W. 13th)-Americana.
An
-.|meric&n I.lace (509 Madison)-To April
14: Paintings, Marsden Hartle}..
Anotl|er
Place
(43
Hirsh
W.
Margules.
8th)-Water
Arden
colors,
Galler}.
De
(460
Park)-To May 1: Sculpture for- a night
garden. Argent Ga.lleries (42 W. 57th)To April ll ; Paintings, countess lngegerd
Ahlefeldt ; New England landscapes, _\'ellie
Foster Nagel.
Art_Students IJeague (215
W. 57th)-To April 5 : Sculpture, paintings,
prints.
April 7-18: Joseph Pennell Men-
orial Show.
April 7-23: Paintings' drat+.-
±E\_gS.__¥±ria_Rott\ \Ylc±e_`..
A. `.V i\.--(S58
W. 57th)-To April 17: Black and ``.hite'
Water colors by members. Babcock Gal!ery
(38 E. 57th)-April:Beekman
Paintings'
Amerlean COntemPOrarieS.
Tower (3
Mitchell Place)-To April 29: Work b}.
Mrs. Helen Humphreys lJaWrenCe. Bignou
Gallery (32 E.
57th)-April:
Modern
French tapestries. Drummer Gallery (55
E. 57th)-To April 4: Paintings' Czobel.
Carroll CartltairB (|| E. 57tl|).-"French
Impressionists and After."
cornegle IIall
Art Galler}- (154 W. 57th)-Work by
residents.
Clay Club (4 W. 8th)-To
April 30: Recent sculptures by members.
ROIL,ll M. Chait (600 Madlgon)-Chinese
art.
Colttempttrar}. Arts (41 VI7. 54th)-
}Ia-Pe-Thri.
Gnller}. of Georgette PzlsseDolt (22 E. Goth)-To Al)I.il 15: Paintings.
Lucy Perkins Ripley.
GrI|merCy Park Art
Galleriefl (2l Gramerc._v Park South)-To
April 15: \Vork bv American al.tists.
GIrnnd
Central Art (`i!lIIt.rieB
(15 Vandel.-
hilt
Aye.)-April
(`l-Ma_v
2:
Etchings'
Arthur VIr. Heintzelman.
(5th A\,e. at
51st)-To
Apt.il
4:
Paintings,
nobel.t
Brackman.
April 7-1S: I-andscapes' John
F.
Carlson.
Gllil(I
57th)-To April
hibition.
Reisman.
5th
..1rt
4:
A\.e.)-April:
nlOdern.
(i!lllery
(37
\1`.
Dl.a`\.ings' group ex-
AI)ril
6-1S:
Temperas,
Phili])
..\rthl]r H. Ilnrlo\\. & Co. (620
Fine
prints,
old
.\Illrie H!lrri]"ln Gz`]lery
and
(63 E.
57th)-To Apt.il 4: Landsc=lpes' Josselin
I--`,odley.
Al)ril : Paintings, Lautrec, Renoir
ancl Sc.ho()I of Pat.is. Ht,n(lrix (73 E. 57th)
-To
Apl.il
I:
\\'atel. c.olors
of tropical
flo\`.erg, -\Irs. Pot)e Patc.I|in.
.Jacob HlrBCh
(:30 \T-. ;-)4th)-Antiquities.
lnternatloltnl
I-\rt
C't.nter
(310
Ri\.el.side
Drive)-To
April
15:
Polish
book-cl`aft'
scull)tul`e,
rugs.
GeorLr .Je]lse»
(667
5th
Ave.)April:
Paintl:ngs,
Paul
King.
Dikrll]t
KelekiI|n
(5!t8
-\Iadison)-I.]gyptian
and
Persian antiques.
KenllelI.\- A. Co. (785 5th
A\.e.)-To April 15: Audubon birds.
April
6-}Ia}' 2 : Pl.ints and their concel)tual (1ra\l.ings.
April: l`1ame birds in \`.ater COIOl.,
\\.alter H. RIG.h.
l`re(leri<.k Kept)el & Co.
(16
E.
5Tth)-To
Apt.il
l5:
Etchings'
drit\`.ings,
.\bbo
Ostl.o\\-sk}..
Kleemzlnn
G:lllerieB (38 E. 57th)-To AI)ril ll : \Vatel.
c.o]ol.s, S:1nfOrd Boss.
K]|oe(ller Galleries
(12 E. 57th)-To April 6: Prints, 15th and
]6th centur}..
April
6-]S:
18th centul.}.
\'eneti.1n I)aintingS.
Kr!t`Irs]lZlar Art Glll-
lerieH (680 5th A\.e.)-To April 4: Paintings,
Louts Bouche.
April
8-May 2:
Paintings, GiffoI.a Beat.
I_zl*zllle Gllller}.
(3112 Bl.oad\`'a}.)-To Al)I.il l7: Paintings'
Anton Refrigier.
.Jolm IJe\..\ Gl|llerieB (1
FJ. 57th)-Old Mastel.s.
'Jtllien IJe`.}. GnllerieE
(602
_\I!l(liBOn)-M()dern
paintings
!Lnd
PI.intS.
57th)-To
IJi]itmfe](I
April
Old Masters.
12:
Gzllleries
Paintings'
(21
E.
Genin.
Littlt, Gnller.\. (20 E. 57th)
-To April 4.. Work b}. Sonia Gagarino.
Guy I,. -||a}.er (578 _\Iadison Ave.)-To
_\Iay 2: Etchings b}. Broc.khurst' comI)I`ehensi\,e exhibition ; blue and white antique
Chinese porcelains.
-\Inl.betl| Galler}. (1|
E. 57th)-To Apl.il 6: Pastels and dra\`.ings'
Robert
Brat.kman.
April
7-20:
Dra``.ings, Richard Gugfrenheimer.
April
7-27: Paintings' a. K. Chatterton.
M. A.
-\|..|}onald (665 5th A\.e.)-To April 4:
Etc.hings' \+.ater colorsI S. R. Badmin.
-\Ietrol,olitnn Gll]leri.tl (730 5th A\.e.)Paintings, old and modern.
Midtown Galleries (605 Madison)-Al)I.il 6-18: |Vork
b}. winner.s of Guggenheim a\\.ards.
_\Illc.h
GallerieE
(108
W.
37th)-To April
lS'
\Yatel. colol.s, John \Vhorf.
-tltmtrotltl Galleriet} (785 5th A`.i..)-To Apt.il ll: Paintings, Emy Hel.zfeld. -\|l,rtt"I Gal]erit.s (|',!O
W. 57th)-To April ll: Paintings' Mal.grete O\.erbeck, GeoI.ge \\'ehner, Katherine
Winter.bul.n.
April
leen
Mu]lit.i[,l`]
Dresser.
13-26:
Paintings' Ai-
_.1rt
Ga]ler.\.
(63
W. 53l.d)-To April 5: Sculpture and oils
by _\`ew York artists.
April 8-26: Oils.
-\Iuseum of Modern Art (ll w. 53rd)-To
April
19:
Cubism
and
abstract al.t.
Museum of tlle cit.}- of }-ew york (5th
Aye. at 104th)-To April 18: Sketches of
old -\`ew York. Elizabeth Greatorex. -`-ational Arts Club (119 E. loth)-To May
1 : Exl".bition b.\. neighboring art organizations.
I. B. .\,eumann't) +i,ew Art Circle
(509
Madison)-_\'ew
1-orb. Botanical
Gal.len -\Iuseum (Bronx Park)-To April
19: Bronx Artists. Guild exhibition.
}'ew
t'(,rk I'`'l,llo ljbrl.L`. (5th A\.e. at 42nd)To April 16: Japanese figure prints' 17751800.
I}oroth.I. |'aris Galler}. (56 W. 53rd)
Paintings' Robert W. Blinn. Ihn Cooper'
Inc.
(2U
E.
57th)-Paintings'
Ashton
-Apl`il.. Fourth anniveI`Sal..V group Show.
Pen dL. Brush Club (16 E. loth)-AI)lil 6
On: Oils by members.
Rn}.mond a. Ra}.-
TH_Enn`\-gnp.ri: Do1_ii±p`EnhotG9Eir%E£esI (1E-1\gddh`O#.
duction, Gauguin facsimiles.
13th)-To
April
Kuniyoshi.
A. S. Dre}- Co. (68O 5th Ave.)
f6a::tins:hb,+'t,#)-R::n Ad'rrjL25 :Re;.n1,:gr6d':
Wilson.
I}ecoratorB Club (745 5th Aye.)--
-Old masters.
4:
Paintings'
Yasuo
Dursen.I-Rue| (12 E. 57th)
-April.. Paintings, loth and 20th century
French artists. Enrich-_`'eu.l|(>uBe Galleries
578 Madison)-To April 4: An American
Group. April 7-22: lVork by Azadia. I.
A. R. Gallery (21 E. 61st)-To April 15:
Facsimile' Gauguin.
Ferargil Galleries
(63 E. 57th)-To April 12: Water colors,
Barse Miller; sculpture for the garden.
I.'ifteen Caller.+. (37 W. 57th)-To April
ll:
Sculpture, Gene`.ieve Karr Hamlin.
To April 18: Drawings' sculpture' Anatas
Katchamakoff; paintings, Rifka Angel.
|'rench dL. Co. (210 E. 57th)-Antique
furniture,
Arts.
IIIC.
``.orks
(50
of
E.
art.
Karl
57th)-To
Freund
April
15:
Baai`Pitdisnogns., OGSaCITeTr.\- Louih}imeFrciuclaPnturle;diaTno
..Art
(120 E.
57th)-AI)ril:
T`rater colors,
-and (40 E. 52nd)-Abstractions in repro-
Galleries
(730
5th
Rehn Galler}.
A\.a.)-April
6-30:
Paintings. IJdward Biberman.
Jac.qu.s
Sellgmann a. co. (3 E. 51st)-To April
20: Paintings' Segonzac. I-_. a A. Suberman (32 E. 57th)-Old MasteI.S.
Societ.I.
llf IIlustratom (334y2 W. 24th)-AI)lil 417: \h'ork b.\. Harve Stein.
Marie Sterner
(`'allerles (9 E. 57th)-To AI)ril 4: Paintings' Pierre Sicard ; \+.ater colors' Barbara
-\Iac.Farlane.
studio Guild (730 5th A\.e.)
-To April 4: Paintings' Florence Proctor.
.\Irs..`orneli`ls a. Sllllivlul (57 W. 56th)To April ll: Paintings' Menkes.
tJ.ptown
Galler.I- (249 West End Ave.)-To Al)ril
28: Water. color.s and drawings by uptown
GrouI).
\'alentine Galler.v (69 E. 57th)April
6-25:
Abstractions'
Jean
Helion.
u'alker Galler.`- (108 E. 57th)-To April
13 : Ol.iginal drawings for sets for "victoria
Regina'" P`ex Whistler; Paintings, DoI.iS
-C)I2PT
The Art Digest, lst Al)ril, l936
Wieczorek, a Thor for Art in the West
The Foundation of Western Art, organize(I
three years ago in Los Angeles by Max
Wieczorek |{to encourage the best in fine arts
of the Southwest,,' has been enjoying its most
successful season.
3L
ARnSTSIOIL COIaus
MADE IN HOLIAND
Its third annual exhil)iLion
I
of California Water Colors, containing work
by many of the best known Pacific Coast
painters, has just been coIICluded.
In April
the
third
annual
exhibition
of
California
NEXPENSIVE
pndrf
PR.OVEN PER.MAN ENCY
crafts will take place, followed by the Desert
an(I In(lian Painters' show ill May.
The foundation stands as a monument to
a man who rememl)ered the struggles of himself and his fellow artists to attain recot,.ni.
Lion-and a bare living.
In its galleries at
627 South Cardon(lelet Street, this organization, writes Arthur Millier of the Los Angeles
_i-f±__fa
Tz'7»eS, 66has stea(lily maintained standards of
dignity9 qLla]ity and brea(lth Which Set it above
all organizations devoted to western art. Here
is where the I)est artists of all tendencies are
most proud to see their work shown. It is
attracting sustaining members from that section of the laity which owns and knows goo(I
art.99
Among the exhil)itingr members are such
diverse personalities as Wa]tel. Ufer and Emil
Bisttram, John H. Sharp and Millard Sheets,
s. MacDonald Wright an(I Barse Miller, Ernest
L. Blumenschein and Paul Sample, Frank
Tenney Johnson and Warren Newcombe'
Kathryn W. Leighton and Maynard Dixon.
Mr. Wieczorek is the pl.esident, Robert O.
Beardsley9 Vice.President, Everett C. Maxwell'
clirector, and Curt R. Besser, secretary.
treasurer.
A man of superl) military bearing, Max
wieczorek is the prototype of his class, tlle
.'Junker" or Prussian hereditary landownel..
Thanks to histrainingas an Officer in the 109th
regiment of the prussian
Army, the bo(lv.
guard of the Grand Duke of Baden, this blue.
eyed, six-foot, soldierly man has as he ap-
proaches his seventies the body and bearing
of a man many years his junior. "A"(I the
enthusiasm," says Mr. Mil]ier.
IJee.
W..\.h. Gl`ller.`- (7_9| IJeXingt'Ol`_)_.rTo
Aprn 4: Paintings Emit Ganso.
April 6-
18 : Paintings. lithographs. IJOuiS IJOZOWiCt(.
wI'ltnav }Iuse"m of Ame'l.an Art (10 W.
8th)-To April 5: Permanent COlleCtiOn'
etchings by John Sloan.
April 7-May7:
paintings. Da`.id a.
Blythe: draWinES'
Joseph Boggs Beale.
Wllden8tein GalIerics (19 E. 64th)-To April 18: Work
b}. Gauguin. Yamanaka a Co. (680 5th
Ate.)-April 6-25 : Old Japanese PaintingS'
drawings' prints. Ho``.a"I l'Oung Galleries
(677 5th A`.e.)-To Ape.il 4: Horses and
riders by Broadhead.
ROCIIESTER. lt. Y.
Paintings'
Georgine Shillard' portraits. Rachel Bulley
Trumpo.
clh`CINNATI. a.
clnein-ti Arrlrl_"eum-To Apt.il 8: Mem-
offal exhibition of Dixie Selden.' Mexican
paintings.
cIJE`'F.I,A`'I), O.
cle1,eland
Mu-tleTu__in
of
Art-To
work by vincellt Van Gogh.
I)ALYTO+'.
Institute of Arts-Al)ril:
colors, curry' Benton.
Hutty.
Apt.il
19:
Furniture: T`,ater
Etchings, Alfred
TOLEI)a. O.
\.ouNGSTO\`'>'. a.
Butler Art I-titute-To April 15: Art Al-
April 10-28: Polish
prints; early American china and quilts.
I.HILAI)ELI.HIA. I}A.
Art Alliance-A])ril: Pan-American cl`afts.
Art CI||b-To April 14: Wol.k by Philip
scott Tyre. Bo.`.t'r Galleries-To Apt.il 8:
paintings'
John
}Ic.CI.ady.
1908
Wieczrorek
came to
Los
An-
To April
14:
"NS8SON
Then the painter in him kicked over the
traces.
He went on his own as a portraitist,
{lcveloping
a
unique
style
of
drawing
NEWARK' NEWJERSEY-
like-
nesses with chalk a"l pastels.
Many are the
Americans he has portrayed in this medium
and his portraits have elicited high praise
from critics and are treasured by their owners.
A book, 'Max Wiezorek, His Life and Work,9
I)y Everett C. MaxwelI, contains reproductions of many of these portraits and figure
pictures.
'6However, life as a portraitist with two girls
lo provide for and bring uP' Was usually a
struggle.
With his magnificent I)Caring, Max
was a familiar figllre in local society, and his
friends recall a certain checked suit which
always looke(I as though a tailor had just
handed it to him freshly pressed. But it was
always the same suit."
---- -
u#mni(an/i
COLORS
TALEN5 GSON
APELDOORN HOLLAND
u.S.DISTRIBUTING OFFICE ,NEWARK'NJ.
I-
pl.ints, Orozco ; drawings, Philadelphia at.tists.
st||dio ||f s|te A. paul Gill-AI)1,i1
5-19: Recent ))aintings.
To April 4: Work by
I,ennf)}.]`'n.tin ..\l.adenu.
To April 12: Memorial
Gin.bet GalleTit'8
Doris Gl.igol`ie\..
of ttlO Fine.1rtFlexhibition' Jessie
\vilcox
smith;
illustrations by foI.mer
Academ}. students.
Penng.\-l`.ania, }Iuse`lm
of Art-To April 27: Pottery.
I.Tint Clul.
-AI)ril: WoI.k by nobel.t RigES ; American
bloc.k prints, loth annual exhibit.
Wenr``.i.,k
Galleries-To April 18: lVater colors, Ml`s.
David H. W'illialns.
I.ITTSBURGII. PA.
of H. H. Richardson.
ings. chicago al.tists.
To April 26: PaintTo May 14: Mem-
oI.ial eXhibitiOn` Of John Kane.
I.RO\'II)Eh`CE. R. I.
Flo`+,er
Tfllan(I
seI|ool of Design }Iuseum-AI)ril: Slat.ic'
Russian' Polish handcrafts.
I)ALLAS. TEX.
Dallafl Museum Of Flue ArtH-To Allril 8:
Table settings. Addis DecoI.atiOn Clul). Tr`
April 9-May 10: International EtcheI.S and
Engravers' exhibit.
IIOUSTO>`. TEX.
Ml|seum of I`lne Arts-Apl.il 2-26: Southern
States Al`t League.
sA>' A>'TO>TIO, TEX.
Museum-April
8-May
I:
Bo}.er Gonzates Memorial exhibit.
RI(`HMO>'D, V^.
\.it.frl»ia _`1."lou- 1,I I`i"e ^rte-April: Vat.ginia artists.
SEATTIJE. \|.ASII.
Art }Iuscllm-To Al)I.il 4: Northwest Printmakers; 18th centur}. pol`traiture (a. A.
A.).
Al)I.il 8-May 3:
Seattle arts and
c.I.arts; Al.t of Walt Disney (C. A. A.);
..The
Pl.osl)eetol.s;"
paintingS'
-\Iorris
Graves.
Lawrence
AI.PI_ETO|`. \|.IS.
College-To Al)ril 6:
George C. Wales.
Chaunce}. Ryder.
Al)I.il
6-30:
HeadqllaI.terS
GENUINE DRY FIGMENTS FOR
ARTISTS CoLORS
CA[).\lIU.\I
YELLOWS
CAT)MIUM REDS
U[.TRAMAItINES
VERMII,IONS
U}rBERS
COBALT BLUES
COBALT GItEEh'S
COBALT VIOLETS
CERULEAN BLUES
GENL'I.\'E AL'ItEOLINE
EMEItAI.I)
SIEN|\'AS
GI!EENS
OXIDES
EMERAl'I)I rIREE.\'S
ETt,I.
- 1`.ollllded 18.5.II -
I.rovidellCe Art C.IUD-To April ]2:
l}aintings by members.
Rl'ode
\|.itte Memorial
O.
M||f]e`'m or Art-To Apl`il I.r`: Fol`eign Seetion' carnegie Intel.national.
liance, annual exhibit.
About
geles, writes Mr. Mil]ier, 66and for a year followed his trade of stained glass designer.
carnefrie lnstltut-To April 5 : Architecture
Rocl|eBter Memorial Muse`lm--April3-May.a. :
African SCulPtul.e ; Mask Makers.
SARATOGA SPRIltGS. ``. 1'.
ski||more college--Apt.il 8-28 : ModeI`n lithOg|.aphs (a. A. A.)
Mufieum a, SIT:lRLf.ti:tE.iLIi.prT1. :
Max Wieczorek.
|Vork
by
Work by
FEZANDIE
8
SpERRLE,
"JO5 Fulton StI.eel
INC.
New York City
PLASTER CAST
STUDIES
Send for illustrated catalogue
144 pages.
Sl.OO
FLORENTINE ART PL^STEk CO.
22|8 Che|tnut Street. Phil-delphi-, P-
TRENT ENGRAVING aO.
[cLf mJ~| f~ TEB ART DICIS']
Specialists in
FINE HALF TONES
for Artirts| Art DcaLlerS and Publi.her.
Your inquiry solicited
See e. W^aR=N ST.. TILBermON' n. I.
8'2
The Art Digest, 1st April, 1936
THE All.IEIUCAN ARTISTS
PROFESSIONAL
LEAGUE
WOMEN,s ACTIVITIES a NATIONAL ART WEEK
(Not)ember 8 to 14, 1936)
National Director: Florence Topping Green9
|04 Franklin Avenue? IJOng Branch, N. J.
AMERICANARTANDTHEWOMENOF AMERICA
THE IOWA BULLETIN
A very attractive twenty-four page bulletin
has been prepared by Mrs. Louis Pelzer, one
of our. national vice-directors of National Art
Week and chairman of the division of art of
the Iowa Federation of Women,s Clubs. This
will be circulated all over the state and will
forln the working Program for the art dePartmeIlt Of every Club. A great deal of prominence is given to the work of the American
Artists Professional League, which is thor.
_.
E
E]
RE
-`
As his "scratchings" have
lasted so can your more
f|nished technic®
Permanent Pigmeuts
embody all the accurate
knowledge about durable
colors accumulated since his
time®
In .'cave -an,, style we
bluntly refuse to -abe or
sell anything that is not the
ultimate in per-anency.
We frankly tell you everything about the materia'ls
and pri)lt the full guaranteed statement of composi.
lion on the label®
FH
a
L=
tJ
Careful following of all
specifications and requests
of the National Committee
on Technic of the American
Artists Professional IJeague.
Prices Reasonable and
Honest-twenty-five to fifty
cents per studio tube for
most colors®
Valuable Technical Booklets
Enduring Colors for the Arts
and
Dry Colors in Ten.pera9
Fresco and Oil
obtainable from our dealers
everywhere.
oughly explained, and the "Nine Point Program," section two states: 66Stress National
Art Week.
Operate under the slogan, 6An
original work of art by an Iowa artist exhibited in every county and club llOuSe in
Iowa,, and further urges club women to examine Iowa art and 6u)y.,,
Another paragraph says that prizes for art
activity and increased membership in the
League are awarded at the annual I)anquet
in January. The American Artists Professional
League, the sponsor, I")pes that national concerted action will help America to take her
place as a leader in the wide world of art
and awaken cgreater national pride and confidence in her own art. The national chairman of art urges the arrangement of exhibits
and special sales of American art for 66Na-
tional Art Week.»
This little magazine provides a basic crosssection of the art and artists of Iowa. There
are lists of the many federal government art
projects, the general theme being 66The
American Scene." A total of 3,749 artists,
both men and women, are engaged in the
work. Grant Wood is the chairman. Space
is given to the activities of the working
groups and there is a full list of the con_
temporary artists of Iowa, as well as suggestions for the study of American art, a bibliography and ideas for art programs.
Mrs. H. C. Houghton, Jr., president of the
Iowa Federation of Women's Clubs, is untiring
in her work for the cause of art and culture.
I.-The posters must be strictly original.
2.-They must first be sent to their own
junior state chairman, who will have a com.
mittee of artists to act as jury; six of the
best posters from each state are to be sent to
Mrs. Florence Topping Green, lO4 Franklin
Ave., Long Island, N. J., I)y April I, l937.
3.-Size of poster, 20 x 24 inches; any me_
dium, color preferred instead of black.and.
white. 4.-Subject, to advertise the Penny
Art Fund, showing how tlliS Plan helps the
American artist.
Mrs. Allen has just bought a prize for the
competition, a lovely bit of bronze sculpture,
6.Sea Horse," by R. F. Duryea, 405 Lincoln
Ave., Palo Alto, Gal.
Mrs. Allen writes that
it is a gem. This is only the first of several
prizes she will purchase to make the event
a Success.
*
*
*
A CORRECTION
Mrs. Harold Dickson Marsh, our honorary
national director for National Art Week, sent
a protest of errors in the account of the
Oregon radio program.
We do not know
exactly llOW it all happened.
We apologize
to 1\Ir. Hinshaw for misspelling
regret that after the copy left
the editor of this page it was
condense it because of shortage
his name and
the hands of
necessary to
of space.
*
*
*
CHILDREN AND ART EDUCATION
Because of false economyt the study of art
has been dropped in many schools. It has
been designed as a 66frill" in education, and
consequently useless. There is no better work
for A.A.P.L. members than to find out just
the conditions in their own llome schools, and,
if there is not adequate instruction, to proclaim volubly that something be done.
She says: 66Let us be sure no artist in our
state suffers for lack of sympathetic and
understanding consideration, for our own
sake, and posterity,s. Our duty is before us."
l127 \|.. SIXTII ST.
*
CI>'CI+'>'.1TI. O.
*
*
SCHOOLS AND NATIONAL ART WEEK
66TI|E I)ENCIL99
SINCE 1565
A 48 Page lIIus+ra+ed Bookle+
b.v
Arthur L. Cuptill ® Clarence C. Fleming
This booklet, contains a comT)lete hiStOr.V Of
the lead I)encil.
It tells of the discovery of
gI.aPhite
in 1565 anduT)
describes
the many
tin
manufac.tut.inS!.
tO the
Present-ster)i
day
method. Mr. Guptill's helpful hints on the. use
of different
mediums \L.ill
Pt.ore Vatu(.1ble
to
eVel'yOne.
25 cents per copy
KOH-I-NOOR PENCIL COMPANY, lNC.
373 Fourth Avenue
New York
A special chairman is to be appointed who
will get in touch with all educators in order
to have National Art Week observed in
schools all over the United States, so that
T|^DE mBK-BEG. U. 8. r^I. ®n.
.¬Tlrd, Artists, BrwSh Supreme
(rreau.n¢ly imisa¬ed, but nooor equctle\)
parents and other members of the community
may see just what art education can do for
the children.
*
*
*®=
JUNIOR POSTER PRIZE
In the midst of the work Mrs. Alvoni Allen
is doing for art in this country, it daluned
llpon her that she had neglected to attempt
to inspire the younger generation, so next
year she will have a poster contest for the
members of the Junior Clubs of the General
Federation of Women's Clubs. The judges
will be Wilford S. Conrow, Arthur Freed.
]andeL George Pearse Ennis, and the editor
of this page. The conditions of the contest
aI'e:
UNITED
BRUSH
MANUFACTORIES
116 & Ilo 1|'OOSTER STREET. NEW TORE
The Art Digests lSt April, l936
THE AMERICAN
PROFESSIONAL
National Chairman : F. Bal]ard \Wiuiam8
162 West 67th Street. New York City
H8tional Secretaries
: Wl|ford S. Conrow
and Tab®r Scars| A88OCiate
164 Woct 57th Street, New York City
National
Regional
Chapters
ARTISTS
LEAGUE
\'atioltal Tlce-Chairman : A|bert T. lit,id
THE
LOB Park Avenuo' New York City
OUTSTAHDllIG
National Trcasur®r : Gord®n H. Grant
137 East 66th Street, New York Clty
National Committee on TecllniC and Education
Chairman : Waiter Beck
FREE---
ulnnisfree'" Mllbrook. N. Y.
Committee
Chat-aD: George Pearse Enni8
E(1itor
G28 West 24th Street, New York City
: E. 1'. St{ldlli|r{l
To prove to your entire satisfaction that there is no better
brush made than the
|54 West 57th Street. New York City
A national orgavianteon of American artists and art lovers, working positively and impersonally
/ot contcmpotary American art and artists.
WAVES BECALMED
I wonder if any one but me thought of old
Darius Green and His Flying Machine when
Albert T. Reid, national vice-chairman, failed
to take the air, on March 8. Why he didn't
is interesting. and what he was going to say
is extraordinarily so.
Some of it is printed
below this department. If you want the low
down on one phase of the Art Racket I advise
you to read it.
proved the suggestion of the chairman of the
national regional chapters committee to re.
quest all chapters of the League, women,s
clubs and other o-granizations participating
in National Art Week activities to contribute
$1.00 each towarrl an N. A. W. fund.
*
*
*
ANOTHER DINNER PLANNED
It won't be long now, if the plans of George
Pearse Ennis and Arthur Freedlander go
through, before we have another subscription
dinner. The object is partly the amusement of
dining together and partly to raise money for
National Art Week. The gourmets of the
executive committee insisted that the dinner
be not merely edible but good even if CulinaryArtleave nothing over for her sister Arts.
Presidential Aid
EAlbert T. Reid9 national Vice-Chairman Of
*
*
THIS IS IMPORTANT
You'll be surprised.
*
The executive committee issues the folhwing statement of the principles [JrrOVerning the
policy of the League:
6The American Artists
Professional League is in sympathetic ap.
proval of plans of artists, a.roups to co-ordi.
mate their interests in so far as such plans are
divorced from politics and discussions of
racial questions and of fashions in art. With
such plans as remain within the limits of
these reservations they will be glad to collaborate and actively advance such projects."
E. V. STODDARD
pected to pay for them.
Sometimes they were
sold to a society or institution which (lesire(I
a picture of the Chief Executive.
the American Artists Professional Leagues
The money for the picture was not the obu)as scheduled to give a talk over radio
jective, however.
The painting of it was the
"lTXAL. He chose to attempt an expose of
.¢the racket,, which t1.e foreign portrch painter key unlocking vaults reputed to I)e bulging
with easy money.
The picture had news value.
This was
m;issions9 and the irmOCent, if effective, as- whipped up to a froth and served in many
sistance given them by the Presidents of the
ways. The artist usually had himself inter.
United States. Result.. his talk was turned viewed about a number of things concerning
down as not con,forming to the statior',s policy. the President. The picture was widely a(lTIm ART DIGEST Prints below Salient POintS
vertised and displayed in some gallery. Then
condensed from Mr. Reid:s still-bom nddress|
it was sent on a round of outside galleries
employs to obtain lucrative American com-
By ALBERT I. REID
The foreign portrait painter in selling him.
self to the American public employs what is
known as a.'build up." This has been reduced to a routine. He need only paint one
of our notables and the story-together with
the picture-will get into the newspapers and
the magazines.
The President of the United States is the
foremost person in import.Once in the country.
Therefore, the artist should paint the President
-if possible.
Can he? Certainly he can.
Easily! The approach to the President is made
through the embassy of the country from
which the artist hails.
Some ambassadors
readily acquiesce, and request that the Pl.esi.
dent sit for his portrait. This, the President
is assured, is a courteous gesture. It does
not matter that such gestures are not made
in other great nations. They have become the
practice here.
We have the word of two of our Presidents
that they found themselves in a position where
refusing sucll requests from the representatives of our friendly neighbors might be construed as a discourtesy. And discourtesies
are seriously frowned upon in diplomatic
circles.
Of course, none of these portraits were com.
missions from the President, nor was he ex.
MUSSINI
No one nee(I stay away because of fear of
starvation.
The executive committee also ap-
and pleasure resorts.
As part of the publicity for one artist, it
was printed several times that he was bee()m.
ing known as the 66court painter" of that
particular administration, as De Laszlo had
been in the Harding administration.
This practice, which has grown to such an
alarming extent in this country' is not-and
zuo«/tZ »oc be-tolerated in other great na.
WHITE BRISTLE OIL ARTISTS
BRUSH
Any 8iZO uI. tO N.I. ('l ll`
illustrated
in
eitl|er
l}ristle)
lends himself to proJ'eCtS Of this Sort iS going
far afield. He is most decidedly over-stepping
the privileges of his position.
si.,.I..
FIats
(lo'lg
Brigllt*
(short bristle). a8 requested, will ll. sent fll..
ftolutel.I.
FREE of !lll
a.o-I
if
I.all
ref"Ill
c|lllpon belo``,. prior I(I
May 1. 1936, accompanied Itv 3* empty tllbes
(lf tl|o
Schmincke
©
M®d®
in
u. S. A.
iSRIPermanen+Ar+is+s
Oil Colors
®or
your
choice
or
any
or sizes up to the Value
$1.50
with
coupon
and
emf)ty tubes.
size
Of
6
''MUSSINl" OIL
ARTISTS BRUSHES
(MADE
"
U.S.A.)
Hand made of the
finest
quality
white
bristle permanently set
in position so that the
natural bend of the
bristle remains turned
in toward the center
of the brush.
Serf.es
No®
4227B-
No®
4227F-
I.Brigl''s"
Serf.eS
Retail
||Flats..
PrlceS at Your
I)ealer
2; 3§:::.3¥
I:
Lions.
As a matter of fact, making the President
appear a patron of the artist is merely a form
of suggestive testimonial. It would be precisely
the same were his portrait used to advertise
commercial products of the ambassador's
country. After all is said and done, art is a
commercial product, and in this instance the
artist is using the President to advertise his
work.
The practice is not a recent one, though
some of the methods have been modernized
and made more blatant and persuasive. Our
last seven Presidents have been used openly
to build up the commercial reputations of
foreign artists and for the deliberate purpose
of obtaining orders in this country. It is the
firm belief of the American Artists Professional League that any foreign diplomat who
actual
or
+
M.
CRuMBACHER
Brushes, Colors, Artists' Material
|l'lloles(lie
Only
468 West 34th S.'ee't N. Y. C.
IIIIIIIIIIIIIIIIIIIIII
I)eI.t. A.I).,
M. Grumbacller, 468 W. 34, N.I. a.
Please send me your free Musslnl Bruch ln
size ........
(please state flats or brlghts),
for which I enclose herewith ........ empty
tllbes of Schmincke Pro-tested
oil colors.
33
34
The Art I)iges[, 1st April, l9.36
Metropolitan Museum Holds Centennial for the Fecund La Farge
.¬Self Portrait:
b]. John La Fa,rge (183.5-l910).
Bringing to the present generation a comprehensive exhil)ition of the work of one of
the most remarkal)le figures of the 19th cen.
tury, the Metropolitan Museum of Al.I pro_
sents, through April 26, the versatile Jolm
¬¬Scene in Tahiti:, I)). John L(I Forge.
uppermost in his home atmosphere. He seems
have shown little precosity in art as a
vouch,
though he once told Mr. Cortissoz
I
to
that,
|u1(ler
the
inStrLtCtiOn
Of
his
maternal
grandmother, who was a fairly accolnPliShed
La Farge.
miniaturist. 66hy the time I was eight years old
If La Farge is temporarily out of fashion
in aesthetic circles, he at least epitomizes the
spirit of his own era. Better known al)roa(I
than any of his American contemporaries, La
Farge made numerous contributions to our
I
present-day heritage both as an artist ancl as
a leader of thought.
In painting his interest
:nndoptHfsal :ffuerCatlS I(:er::lr'aa,iO.:sod wlemr:reSr:::1n'S]:
spiritual and symbolical meaning.
Possessed
with a keen decorati\,.e sense and a passionate
love of color, he found stained glass a natural
outlet for scinti]lant compositions, improving
and inventing technical processes as well. He
was perhaps the first modern artist to plumb
the wells of inspiration in old master drawings in European collections, the first to ap_
propriate the style of Japanese prints, and
the first to 6|discover" the luxuriant subject
could
I)egin
to
(lo
solnething
that
had
a
certain amount of careful resemblance to the
original..'
La Farge's interest in art was intensified
I)y a visit to Europe, in 1856.
He drifted into
artistic circles in Paris, holding himself aloof
from the salon battles between classicism and
romanticism.
Chasseriau, Henry La Strange'
Couture, Puvis de Chavannes, Rossetti, Ford
-\Ia(Idol
Brown
and
Burne-Jones had
their
intellectual processes." He worked for a time
under the tutelage of William Hunt but soon
set out to solve problems in his own way.
Landscape at first interested him, then atmospheric effects and the rendering of essen.
an
tial
volume,
66Considerations
on
Painting."
This celebration of La Farge's
centennial affords the museum an opportunity
to revive the early decades of its own history.
Collaborating in the organization of the exhibition are C. Grant La Farge and Henry
La Farge, the artist's son and grandson.
Augustus Vincent Tack, one of his pupils,
and Royal Cortissoz, his friend and biographer, who writes an appreciation of La
Farge for the catalogue.
To an unusual degree, the exhibition reflects the varied activities of its subjects. La
Farge was born in 1835 in New York. French
rather than Mid-Victorian influences were
Richarclson commissioned him to decorate the
Trinity Church in
Boston and the grancl
hieratic figures were complete(I a-rrainst
timeThen followed murals for the supreme court
in Minnesota, the Court House at BaltilnOre'
two lunettes for the New York residence of
Whitelaw Reid (shown at the Metropolitan),
and his masterpiece, the decoration for the
Church of the Ascension in New York.
With Henry Adams, La Farge travelecl again
[o Europe, to Japan and to the South Sea
Islands.
Adams' enthusiasm fol. the stained
glass at Chartres and the activities of the
Pre-Raphaelities tempted La Farge lo make
excursions into this realm of living color.
Once again his intelligence enal)led him to
turn his energies into new channels. He (le_
yeloped new processes in the glass itself, in-
influence on this desultory traveler.
.6But
though it was with a head full of ideas and
impressions, it was, on the whole, with a troducing molded glass which had sculptural
values and reviving the mediaeval practice of
singularly 6clean slate' that he came home in
the winter of 1857-58."
plating or flashing layers for aclditions to the
.Tainting is, more than people think,w La color range.
He achieve(I the 66opalescent
Farge once told Cortissoz, '6a question of
g]ass'' which was to make him famous. La
Farge,s windows were 66built as parts of an
brains.''
A painter should know his trade as
architectural structure."
Also 1\Ir. Cortissoz
a matter of conscience. 6|But art for him,"
adds, 61hey supplied an extraor(linat.fly feliciCortissoz writes, 66went far deeper than manual
tous outlet for his ardor as a colorist."
The
dexterity, and even that was conditioned by
matter of Tahiti and Samoa' for Gauguin was
then engrossed in the operations of the Bourse.
The Metropolitan has a filial regard for
John La Farge because he was a member of
the committee which planned the museum in
l869-70.
Further, his lectures, delivered at
the Metropolitan in l895 were put)lished in
influential
Lent by Robert Laurent.
qualities
an(I
textures.
Never forsaking his interest in easel painting? La Farge made excursions into the fields
of illustration' lending his artistic intelligence
to the pages of Rl'ucrs!'de /t/agaz!.nc, but in
mLlral painting he gained his stride.
H. H.
THE
DOWNTO\VN
PORTRAITS by
Brook . . . Fiene . . . KarfioI
Lauren+...Sheeler...Zorach
a
113
Early
\Vest
American
13th
Street.
Ar+is+s
i-ew
York
G
A
L
L
E
R
Y
6'Peacockw window loaned by the Worcester
Museum exemplifies 66to the furthest extent
his experiments and theories of color in glass."
66Only
in
glass,"
Mr.
Cortissoz
affirms,
6.coLl]d
he
have
realized
this
I)eautiful
COn-
ception."
The
c6Peacockw
window
66speaks,
among other things, of resoundintJCr energy,
and, apropos, I would ask the rea(ler to consider for a moment the prodigous extent of
La Farge,s activities.
Let him observe the
landscapes, flower studies, and figure pieces
of the artisrs early period. the oils, water
colors, and drawings; let him reckon up the
paintings of La Farge's maturity the Eastern
and South Sea pictures and sketches, and the
great mural decorations; and let him add the
countless windows.
He will, admit, I think,
that since the Renaissance there has been no
artistic genius more fectlnd. or more manyside{l. than that of La Farge.'.
COLORADO SPRINGS +
FINE ARTS CENTER
SuMMER
SCHOOL
The 1936 summer school of +he ColaLifeClasses. BoardmanRobinson; Landrado Springs FineAr+s Con+eroffersan
scope CIass' Paul Burlin: I+ching &
ou+s+anding oppor+uni+y for +he s+udy Li+hography' Charles Locke: Applied
of drawing. pain+ing and +he graphic Graphic Ar+s' Warren Chappell. The +uar+s +a professionals and s+uden+s. i+ion for each class is $15 for 4 weeks.
I,:I
JuNE 29 _ Ago. 22
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