tonalists 1928

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tonalists 1928 - By HALE WOODRUFF If one should attempt to keep...
By HALE WOODRUFF If one should attempt to keep pace with all the different movements in modern art that are now evident in Paris there would be very litUe time left for anything else. For there are almost as many styles as there are artists and these are changing: about as often as do the styles in women's dress. Yet for the thousands of artists here now there are a few who are representative of some sort of school. However, it is quite difficult to classify them. . Up to and including the times of Sisley, Manet, Monet, Renoir and the other impressionists who so abruptly broke away from old traditions, it was noty a hard matter to say to what school a work ot art belonged. But since their time it seems that artists have tried to carry their banner of revolt revolt to the farthest extreme. Aside from the cubists and sfutur - ista there have been the pointillists. stripists and many other Mits" who have hewed to some kind of a line. Henry W. Ranger was perhaps the most outstanding figure among the tonalists. These several schools stressed, for the most part, the matter matter of color, color harmony and orchestration, orchestration, forsaking almost wholly the methods of their predecessors. But now, today, you will find in Paris that many standard bearers of ultramodern art, seemingly tired of the principles and mannerisms of the impressionists, are seeking to express express themselves in new and strange fashions. Some, on the other hand, are carrying the idea of impressionism impressionism to the extreme, employing wild and dazsling colors. Those who have given up the quest for atmosphere are now using dull, muddy grays and browns and blacks, while the most colorful note in their landscapes landscapes is an inky blue sky. Many are even wont to express peaceful clouds with great smears of black. smudges with apparently bo attention attention whatever to drawinr or com position, while a number seem to have said to themselves. I am go ing to see just now badly I can paint." But to my mind the most eminent example of ultramodercism (I don't know what else to call It) la the work of an artist who has taken a large wooden board about forty inches square and has covered it completely, with silverleaf. Upon this he has scrawled, with just one stroke of the brush a runout line that quite reminds yon of the main spring taken Irom the raraily Big Ben. I learned that thia painting is a decoration for a dining room and that it received mention at the last autumn salon. Yet on the whole one ran not say that the modernist is insincere. While there are some that thus Impress Impress you, a thorough study of them is convincive that the majority are keen and sincere students and that there is a science that guides their brushes and paint knives over their canvases. Nor is all modern art bad. as many like to think. Thousands of worthwhile pieces are unappreciated unappreciated because they are misunderstood misunderstood and find their final

Clipped from
  1. The Pittsburgh Courier,
  2. 14 Apr 1928, Sat,
  3. Page 13

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