The Brooklyn Daily Eagle from Brooklyn, New York • Page 60

BROOKLYN DAILY EAGLE, NEW YORK, SUNDAY, 'JANUARY 24, 1932 American Painting From 1880 to 1900 in Distinguished Selection at Brooklyn Museunt 1 i American Taste CARESS MATERNAL In the Galleries 6 -By HELEN APPLETON READ Paintings by American Artists at Brooklyn Museum Exemplify American Quality and Taste of the Period There has been so much talk about sur-reallsm as the latest vagary of the always changing latest vagary of the Ecole de Paris, and there have been so few opportunities to see a representative cross section oi what is being done under its banner that Mr. Jullen Levy has performed an educational service as well as assembled a picquant and imagination stirring show in the collection of sur-realist paintings and photo It Is a show that should not be missed, by those who enjoy pure fantasy given the fillip of being expressed in super sophisticated terms. This is how Mr. Levy defines "Surrealism." These painters attempt to depict the world of the subconscious imagination more real than conventional reality not abstract, but fantastic in so far as it is op THE collection of paintings now on view at the Brooklyn Museum whose titles "American Impressionists and Other Painters of the Period 1880-1900" defines Its broad scope, is the most distinguished group of canvasses representing a specific period In American art that bas been assembled for many seasons. With quality as its common denominator and making no claims at proving any specific point it nevertheless succeeds In doing Just that.

It substantiates the belief in the existence of an American quality in American painting. Coming as It does in a year when American art and the American tradition is a much discussed topic, it proves and disproves some of the contentions expressed by critics, collectors and artists in articles arid letters which have appeared lately in magazines and the daily press. The exhibition shows that American painting as exemplified by the vital and sensitive personalities of any period whether they have received their training abroad or not has essentially retained its American quality. It also disproves the posed to the logic of our everyday life An exhibition of these pictures is sensational not only for its novelty, but because the "Surrealistes" often deliberately purpose to shock and surprise, so that you may be deprived of all preconceived standards and able- to recognize this world that lies De-hind the barriers of the conscious mind, the dream world, of which one-third of our life consists may be found to have a continuity which now popular theory advanced by vails In American landscape paint historians of this period that bad taste, or a servile imitation of Eu ropean standards of taste, in lieu of native culture, were the predomlnat- lng as the Puritans' nostalgiac longing for. beauty.

If one accepts James Truslow Adam's analysis of the American mind in the epic of America this Introduction oi the poetry and mysticism is further ing cultural tendencies of the period, Extreme refinement and sensibility are the qualities exemplified by the paintings shown in the collection Which is incontestible evidence that at least certain stratas of society had a similar point of view our memory has been used to neglect. Included among the painters are Picasso, Cocteau, Viollier Dali, Pierre Roy, a young Berlin painter; Herbert Bayer, and two young Americans, Charles Howard and Joseph Cornell; among photographers, Man Ray and Moholy-Nagy. Barring the occasional Freudian touch to be found in some of the subconscious imaginings, surrealism would seem to be merely a twentieth century manifestation of the age old spirit of fantasy. I cannot see how Dali's picture, in which a watch is painted as an object so limp and pliable as to be used for riding saddle, is very different in spirit from the absurdities of the croquet party in Alice in Wonderland, where flamingos were used for mallets and hedge-hogs for balls or the case of the vanishing Cheshire cat. And Grimm was another ancestor.

I remember an illustration that frightened and fascinated me as a child a bed running along the ground set on human legs. Surely that Is surrealism, too. And it We hear far too much about the crudities and meritricious culture of the nineties, gay, yellow or mauve. evidence of what he calls the American's incurable romanticism. "The American people," he writes, "more than any other people have concerned themselvs with conquering the wilderness and building material civilization but they have been incurably romantic about it and the whole process has been sublimated to something of a religious experience." In strong contrast to these sensitive poetic landscapes and the mystic poetry of Ryder and Davies as they may be designated according JIMWUJK WUI I I lil.

.1 J.jiyWgJ'.IISain.HllHimil.J:-1' WJl JW Mill 1 ff "I I I. 1 V. Im.ysrm'i Cj "tVi p. jna turns. r-'v 'r: Wry yy': i -4-1 2', numtft i a 'n xi riinii mrinwiMM imi jihI intiifcM to the theory that their historians wish to prove.

Lewis Mumford in "The Brown Decades," his interest' lng evaluation of the cultural con tributions made by American artists end architects from the close of the is Mary Cassatt's wholesome realism Civil War to the end of the century, lays too much stress, it seems to me, on the fact that a proud provincial Ism such as is displayed in the work and Thomas Eakins' rugged austere honesty. Neither made any compromise with charm or sentiment. Yet distinction, the distinction of integrity resulted. Mary Cassatt, because of her long residence abroad and because of her point of view since his own is distinctive enough to start a fashion or a cult. Specially noted among those which reflect his own point of view are the views from his studio window.

The compositions become almost too dimensional and yet distance and perspective are conscientiously adhered to in the landscape. In these water-colors the color is) put on in the mosaiclike pattern which Is another distinctive characteristic of the artistic style. Illustrations and sketches by Margaret Ager Wales are on view at the Neighborhood Club. Miss Wales combines to an unusual degree two often mutually exclusive types of expressionstraight painting and illustration. In each case she keeps strictly within the bounds of their proscribed limitations.

It is, however, the fact that she is a sensitivs painter with a personal sense of design and color that she can maka costume studies that have a quality beyond their function. Specially noted among her paintings were the still Ufe "Russet Apples" and landscape "Hill In November." This is Miss Wales' first studied at the Art Students League exhibition. She is a Brooklynlte and and the New York School of Fine and Applied Art. Of outstanding Importance in this season practically devoted to a revival of interest in American art is the exhibition by the MacBeth Gallery opening Jan. 23.

It is a showing of paintings of the Hudson River School, the first, as far as ws know, ever held in New York. About 15 artists will be included, representing the best painters of that group that introduced the art of landscape in this country. Among the most important are Thomas Doughty, Asher B. Durand, Thomas Cole, John W. Casilear, John F.

Kensett, William M. Hart and Albert Bierstadt. The foreword of the catalogue states: "We are all of us more or less familiar with the so-called Colonial period of portrait painters having had many opportunities to study them at close range during recent years, but there is one period in tha. progress of American art which has been repeatedly overlooked but which is, nevertheless, an Important i kanrn of Winslow Homer, Thomas Eakins and Albert Ryder, is the sole pur seems to me that Durer had a touch of it and Kingsley in his now almost veyor or native quality. Prom my point of view native close association with the Impres quality is quite as evident in the paintings of an Alden Weir, a John forgotten "Water Babies." Of course the difference in the present phase Is that the pictures exist for themselves and are not illustrations to some fanciful tale.

And, unquestionably, looked at as painting they have an undeniable Henry Twachtman, a George Innes sionist group, is harder to define in terms of an American adaptation of Impressionism than the others who came back and painted the American scene. Nevertheless she and an Arthur B. Davies to mention some of painters included in the Brooklyn Museum group, who quality and style. studied abroad and adapted Euro made the principles of Impressionism serve her own ends. Her point of view, draftsmanship and linear pean technique to their own ends.

-A cultivated, traveled American is pattern are personal. In common The Or pen Memorial Although the late Sir John Orpen never visited this country the larger part of his career was with foremost American figure painters she is reserved and conspicuously lacks any sensuous allure spent in painting portraits of Amer or sensationalism. The Eaklin's group Is extremely well chosen comprising the portrait of Letitia Jordan Bacon, one of his few successful portraits of women, the celebrated "Studio of William icans who came to London for that special purpose. Why he was so popular can easily be understood in the memorial exhibition of his work on view at the Knoedler Galleries. He had chic without virtuosity, he had sound draftsmanship and the ability to get a good likeness.

His pictures were purely objective and never raised any disturbing doubts. He had 2mastered the formula of successful portrait painting to a Rush." a self portrait and "The Wrestlers." Chase Landscapes It is somewhat of a surprise to find Chase among the group. For all the Influence he had on the last point that he almost never painted a faiTUre, that is from the sitters Just as possible of exemplifying native qualities as the provincial provided he doesn't assume a patine of borrowed European cultivation. Perhaps I am not making my point quite clear. I am not suggesting that Homer, Eakins or Ryder, lack cultivation in the highest sense of the word despite Homer's stern provincialism, or Ryder's isolation In a dream world of his own or Eakins' refusal to assume any of the graces and polish of the sophisticated world.

But the quality that Is stressed as being the quality that makes for their 100 percent Americanism is their absence of polish, their homespun provincialism. Whereas the quality that gives them their Americanism Is not. this but their personal reaction to their environment seen through the fundamental heritage of race. (This definition of native quality was made, I believe, by Guy Pene Du Bois.) The men who went 'to Europe provided they were men with a personal vision, for all that their skill was largely the result of Paris training, retained this quality. And in this instance It must not be forgotten that Eakins was a product of the ateliers of Bonnat and Gerome.

generation he has ceased to be reckoned with as a vital force in point of view. The majority of the portraits are, however, without a ray of sensibility or painting quality. American painting. But it is through canvases such as the Shinnecock landscapes shown in the present exhibition that he will Ana tnis is the more curious be ucbwccii Luc very raoy Lmuiwrs and those of our own day, and not, as some have thought, a thing apart cause Orpen painted lovely figure compositions for his own enjoyment be remembered. Engaging, direct, I'uinting by Mary Cos fall, shown in exhibition of American Impretiionittt and Other Painten from 1880-1900, at Brooklyn Muteunu sincere with none of the dash as sociated with this master of brush- work they will endure long after the famous still lifes will only seem to be outmoded examples of Belgium Honors Mrs.

W.H.Fox Byzantine Mosaic In recognition of her efforts to At B'cfyn Museum raise the standard of taste in America by stimulating the study of Samuel Isham has stressed this point in his "History of American Art," written long before the dis in wmcn arrangement the play of light and shadow were his primary concern. He simply ceased to be Orpen the artist when he painted his portraits. And yet harsh' as these words may be, how excellent they are after all. The exhibition includes portraits of President Wilson, Mr. Andrew Mellon, Mr.

Stephen Clarke, Mr. Roland Knoedler and Gen. Rt Hon. Jan. Christian Smuts.

Br son Burroughs It is two years since Bryson Burroughs has exhibited. But the collection of his recent paintings now on view at the Montross Galleries happily shows no change in his familiar point of view and method of expressing it. Mythology and fable furnish the themes always enlivened with a touch of humorous editorial comment It seems as if his amused retelling of the old myths has an added zest in this year's crop of paintings and that his own addi and by itself, leaving no impress whatever on the trend of American-art. We refer to that group of artists sometimes affectionately, and sometimes rather slightingly, termed the 'Hudson River "In presenting this first exhibition we have but one object in mind, that of acquainting our public, as well as ourselves, with the begin-, nings of landscape palhting in this' country, for which purpose the-Hudson River School is the logical point from which to start. "We, however, make no claim that these ancestors of our present day landscape painters were men of genius, or that their pictures are masterpieces; but that they were conscientious, sincere workers who loved the region they made their painting ground, and that they performed in a very creditable in accordance to their best lights, is, however, granted by those of us who are at least on speaking terms with their work." Several of the paintings have been antique laces, embroideries and cos.

A unique exhibition of reproduc cussion of the American quality roused the bitter controversy that apparently it is causing today. tions of Byzantine mosaic decora tion will be shown at the Museum tumes, Mrs. William Henry Fox, wife of the director of the Brooklyn Museum, has just been decorated by the Belgium Government, it was in the Sculpture Court beginning "Nationality," he said, "may be fenced here and there however, by p. careful observer not in the workmanship or the subject, but in the point of view and in the temperament of the painter." January 22. The originals of these mosaics were discovered in a mosque learned yesterday.

She was deco rated with the golden palms of the in Damascus by Eustache de Lorey, Let us examine the group under discussion for the degree to which they exemplify this quality. But in Order of the Crown. Long active among needle and bobbin clubs of national prominence, Mrs. Fox has sought with considerable success to rouse in this tions are more fanciful and decorative than ever. From the point of view of color and design the "Adam and Eve Banished From the Garden" is the most successful canvass in the exhibition borrowed from museum collections, including the Minneapolis Museum, the Brooklyn Museum, and the National Academy of Design.

The remainder have been discovered by and belong to the MacBeth Gallery and are for sale. The exhibition will continue for. three weeks. and "Venus and Adonis" the most delightful modernization of mythol ogy. who for many years has been Director of the French Institute at Damascus, and who is an archeolo-gist of considerable fame.

It was under his direction that the restoration and the identification of the panels were accomplished. These are particularly valuable In the history of art as representing a period in the history of Byzantine Art heretofore lacking In authentic examples. They show a remarkable adherence to the Hellenistic tradition that had obtained in the arts of Mediterranean countries through many centuries. The realism with which the naturalistic subjects are handled distinguishes them from the more abstract treatment characteristic of the school. These copies were executed by native artisans under the direction of M.

de Lorey and reproduce not only the color and spirit of the originals but are an exact arrangement of the bits of glass that formed the originals mosaics. This exhibition will be of particular interest to students of architecture, archeology and design. In Briefer Mention And speaking of fantasy, the sculpture of the Countess von Rosen now on view at the Arden Galleries abounds in it. Being Swedish and a pupil of Carl Milles she would country an appreciation of lace and embroidery as a branch of the fine arts. In 1915 she founded at the Brooklyn Museum a lace and embroidery department which has since been developed into one of the notable public collections in America, a source of Information, not only for individual needle and bobbin workers but for manufacturers and students of design, such as painters, sculptors, metal workers and archeologists.

She has widely encouraged the collecting of antique laces and embroideries among American art collectors, some of whom have already presented their treasures to public museums of various cities. One of her recent activities was the organ-iaztlon of a distinguished exhibition of old Belgian laces in connection with the official exhibition of Belgian paintings and sculpture which was sent to this country in 1930. Comparatively few people seem to realize how Immediate is the public response to a fine needlework de Edward C. Blum, president of the board of trustees of the Brooklyn Institute of Arts and Sciences, has offered six prizes of $10 in gold each for the winning exhibit of each class's art work to be exhibited at the Brooklyn Museum from Jan. 26 to Feb.

6 of the classes of the Brooklyn Institute, 30 Lafayette -Ave, Brooklyn, N. Y. hardly fail to exceed the imaginative equipment of artists born and trained in other countries. The ex Its persuance let us not forget that In the final analyses it is not as sign posts of American culture that they are valuable but as works of art to be with the power to profoundly move those who are susceptible to the language of painting. The group comprises paintings by John Alexander, William Merritt Chase, J.

Frank Currier, Arthur B. Davies, Mary Cassatt, Henry Golden Dearth, Frank Duveneck, Thomas Eakins, George Inness, Willard Leroy Metcafe, Henry W. Ranger, Robert Reid, Theodore Robinson, Albert Ryder. John Henry Twachtman and Alden Weir. Landscapes Predominate The majority of the pictures Included in the exhibition are landscapes.

A fact in itself indicative of an American quality since it is love of nature and its delineation In terms of the artist's emotional response which has characterized American painting from the days of the Hudson River School to the latest canvass from Woodstock or Taos. If one wishes to trace European Influences there Is the Barbizon Influence in the case of Inness and the Impressionist influence in the case of Twachtman, Weir. Reid, Ranger and Robinson. But the difference between a group of French and American landscapes is that the French painter remains objective, while the American general hibition comprises small decorative imaginative pieces which she calls mascots all of them inspired by Norse mythology or belonging to some pantheon of her own creation. That she can discipline her fancy to the exigencies of straight portraiture the portraits of her two small daughters attest.

As Milles mate fP American Groups International Fourteen artists from abroad, a number of guest American artists. partment in art museum. Yet in EXHIBITION or PAINTINGS Mary Dignam January 2S to February S. DURAND-RUEL 12 East 57th Street has said of this phase of her work in his forward to the catalog: "In her later work happily she has kept the fantasy while she has advanced in form. Recently I saw portraits from her hand which contained just that quality I like so much in the work and members of an American Group, of feminine artists when they do not try to be masculine." Also included in the group are attracting first of all the women of the community its influence is quickly felt in the home and thereafter on the manufacturers who produce related articles of decoration for the home, as well as on makers of wearing apparel.

The visitors to the needlework department of the Brooklyn Museum number yearly a good proportion of the 600.000 visitors to the museum. The department, today containing over 1,000 rare and important examples, represents almost every country in Europe and the Orient and thus offers a panorama of the art of the needier and the several animal subjects sincere and well modeled, they do not, however. will be the exhibitors in the Little International Exhibition which the group will cpen tomorrow at its galleries in the Barbizon-Plaza Hotel, 58th St. and 6th Ave. The show, the group's fifth since its opening In October, will continue through until Feb.

20. An American Group, a co-operative enterprise Initiated last Fall, now numbers members. It plans to make the forthcoming show the first of an annual series of international exhibitions. Of the 14 foreign artists participating, about half have never EXHIBIT OF Venn and Adorn; by Bryton Burroughs $hotcn in exhibition of the artit's work at the Montrou Galleries. afford the opportunity for the display of sensitiveness such as is seen in the portrait or the fantasy found in the mascots.

Qualities which would seem are Integral parts of her spiritual equipment. izes and infuses personal feeling into his transcripts of visual reality. Furthermore, despite the fact that we have an American Impressionist group who obviously were inspired to paint in a high key by the example and inspiration a Monet and a Pissaro, it remains apart from the French school. But it would have been impossible for any sensitive painter working at this time not to have been influenced by so radical Decorative Arts January 22d to February 6th THE GRANT STUDIOS 114 Remea St B'klyn Height I painted in 1641, covers thoroughly An Impressive array of examples Herman Trunk is exhibiting re- bobbin from the fourteenth cen of the English Portrait School has been assembled by the Ncwhouse Galleries to form the opening exhibition in its new quarters at ST6 Madison Ave. beginning Jan.

23. exhibited in this country before. rent paintings at the Dudenslng Galleries. The exhibition shows a curious division in the artist's point Several of the others, however, are well-known here, among these being artist from the collection of Mrs. Oscar Johnson; a portrait of Mr.

Hammond by Thomas Gainsborough; two portraits by William Beechey; "Mrs. Blair" by Raeburn from the Marquess Curzon's collection; "Mr. Payler" by Sir Joshua Reynolds from the collection of Henry Hammond, St Albans, Eng a change in painting as Monet of view. When he is himself he con tury to the middle of the nineteenth, which is, to say, from Gothic times to the days of our lace-loving grandmothers. the scope of English portraiture of the 17th and 18tii centuries.

Especially worthy of note are the study of the Countess of Galloway by Sir Joshua Reynolds which was included in the International Exhibition in Rome in 1911 and Is now owned by Mrs. William R. Tim-kens; a portrait of a lady by Si; Peter Lely. loaned by J. J.

Haverty affected. Orozco. the Mexican responsible for experiments with light The title of the exhibition Is From Van Dyck to Lawrence" and tinues to paint delightful and personal pictures, when he assumes the externalities of some of the current fashions in art he only succeeds in ANNUAL EXHIBITION The American Society of Miniature Painters Thrvagh Jmnaair Xlth Grand Central Art Galleries IS VuoWUt N. T. the collection, beginning with two Van Dyrks, a portrait of Francis by and a portrait of "Miss Bloxam' Sir Thomas Lawrence.

They assimilated this discovery, i the New School for Social Research used a high keyed palatte. but in I murals. Carlos Merida. director of each case gave It personal inter- Mexico's Modern Art Museum, and pretation. the Palestinian artist, Rubin, whose Mr.

Mumford has interpreted the last show here was held at the foetio quality which so largely pre- Montross Gallery about a year ago. producing clever imitations. Villiers, the Duke of Buckingham's son. painted in 1639 and another of of Atlanta. and a portrait i land; a large painting "The West- It seems the more curious that he i w- cAiuwiviuu twiluuc 4UA Phillip, Earl of Pembroke, oX King James II, by the same wood Family" by Johann Zoffany; three week.

should assume another sty la and.