The Brooklyn Daily Eagle from Brooklyn, New York • Page 64

THE HHOOKLYN DAILY VAilLK. SKW YOHK, SUNDAY, NOV KMUKU 1928. 6 NEWS AND VIEWS ON CURRENT, ART WORKS OF ART ON VIEW DURING CURRENT WEEK i Art in Industry Key to Americanisms HELEN APPLETON READ: Current Events in This Recent Alignment Two Eminent German Critics and of Her Art Expression. VISITING European have recorded their impressions and opinions about America and Americans since the days when Charles Dickens Li his "American Notes" summarized us as a nation ol tobacco chew- crs. Various as have been the reactions and interpretations, differing according to the viewpoint of the visitor and the types of people who happened to be his guides and interpreters, one thing they all have in common is the effort, to isolate and label the quality of the genus Americanus as a different species of the human family Apparently AmericanLsmus, as our German friends categorize It, defies easy categorization.

Count Keyserllng, Coue, H. O. Wells, Claire Sheridan, Rebecca West and Ford Madox Ford and the hosts of other eminent litterateurs, philosophers and scientists, statesmen find financiers rho visit us have recorded different analyses. tUT, curiously enough, with all this variety of opinion, cud summing up ot American expression, American art has scarcely been touched I upc.l. Art as a manifestation 01 a nations essence ana uaiuy nas not been itudied as a possible key to understanding and isolating this illusive qualHy.

As a matter of fact Europeans have apparently gone on the premise that the Americans are too busy with business, mechanical Inventions and architecture as a tide issue of business and wealth to devote any of their energy to art. Millions, skyscrapers, jazz and labor saving devices connote America to the averaei European. The heavy silence maintained On the subject of American art on the part of visiting Europeans is one cf the contributing reasons for the belief that there Is no American art wor'hy of the name. I have frequently had the question put to me by otherwise well-Informed Europeans. "Are there painters in America, too7" XJOT such an incomprehensible display of ignorance when, on top of thiB silence referred to, is added the fact that no European magazines carry articles on American painters or exhibitions as ours carry reviews and appreciations of French, German, Italian, English, Spanish and Russian rtM: and art events.

This applies to American old masters as well-Homer, Inness, Wyant, Ryder and Eaklns. A history of art. as comprehensive as the Eli Faure, mentions only Whistler and Sargent, and these Hith the most summary remarks. The fact that for 50 years American atii(snts havo been coming in increasing numbers to the art centers of Europe has not even stirred the European historian or essayist to discover the sort of work these students produced after they ceased to be students and returned to their own country to practice the art learned from European masters. IT IS quite understandable that Europeans should be jealous of their repu- for pre-eminence in the fine arts.

Pre-eminence la the realms of cieatlve work Is now almost the only branch of human endeavor in which Tro hive not been able successfully to compete with them. The purchasing pocr of the dollar being what it is, European masterpieces of painting are leaving European collections at an alarming rate. It is tacitly understood by French dealers, artiste and connoisseurs that Americans buy French paintings because American artists produce such unsatisfactory ones. There Is a ravage satisfaction In being able to say, when an American outbids a Eurorcan, "They can buy our pictures, but they can't make them." And tlvre is justification In believing that we have little confidence in our own expression, Judging from the avidity with which we buy French art, the predilection we have for sending students to Paris, and the tendency we have to imitate French mannerisms, In art. A MERICA'S avidity in acquiring art is seldom, however, attributed to a genuine desire for beauty.

The astute analyst of American psychology never gives this obvious It is attributed variously to snobbery, acquisitiveness, the getting of a veneer of culture, and so forth. Apropos of European indifference to American painting, I remember, tn the occasion of the Whitney Club's sending over a traveling exhibition to Paris and London, the attendance at the Paris exhibition was confined almost entirely to Americans in Paris and the press representatives, who American painting as being an imitation of French. The American sections of the Dresden International and the Multinational, which exhibitions were shown simultaneously, the latter In Berlin, were well attended because of curiosity to see how Americanism us manifested in the medium of painting. But the critics were unanimous In condemning the collections for their poverty of ideas and lack of national flivor. I agreed with their opinions, Inasmuch as both selections were not representative and apparently had been chosen with an eye as to what Europeans would consider modern.

What the critics singled out for special comment, because it was In their opinion American, was a cowboy scene by Bb Chanler. -The others were dismissed, as they had been in the case of the Paris show, as being Americanized French modernism. But the fact remains, and is obvious to any one who will approach representative collection of American paintings with an open mind and vision, that a distinctively American quality exists. It Is r.of necessary that it rates 100 percent in the scale of merit, but individual It 'ndubitably is; it Is competent and, as a whole, characteristic of the American temperament. BUT to return to the subject which induced this digression the ignoring of American artistic expression tfc visiting Europeans and In so doing their failure to utilize a key to getting at the essence of the genus Americanos.

Two recent visitors, both Germans, have made art the subject end point of divergence for an analysis of America Julius Meler-Oraefe. the eminent German critic and historian, whose history of modern painting remains the most authoritative work on the beginnings of the movement, despite the tact that It was published almost 20 years ago, and Bruno Painters Pond by Ross MofJet, shown at Rehn Galleries. Girl, bronze, by Alexander Archipenko, shown at Anderson pastel, by Odilon Redon, shown at De Hauke Galleries. by Georges Hiibert, shown at Arden Gallery. With the Orchestras ifiom Brahms' Second Symphony, papers designed primarily to be used wiih n.rniliH "modern" furniture will open tomorrow at the gallery of the Arts Council in tne aarDizon, i 63d st.

These papers were collected. rir rharieu Richards, director general of Industrial art ot the General Education Boara. Wtiile in Europe last summer Dr. Richards was attracted by certain wallpapers with abstract designs of lines and bands. He found that they were manufactured mainly at a factory at Beuel-am-Rhelm, in southern Germany.

Many of the designs are by the architect, Fritz August Breu-haus. A few ot the papers were secured through the important producing establishment of Flammershelm in Cologne. Under the collective name of "Im nresslons Decoratives." the work of eight distinguished contemporary French artists will be exnimiea at mo WUdensteln Galleries, beginning Nov. 12. The exhibition is of chief interest because it will expose the talents of certain artists whose work In the field of fine art Is already well known as creators of designs for laoncs principally for silk dress prints.

Tne impressions uecorairve- us the first essay in the field of fabric desleiv hv such men as Boutet de Monvel, Benito, Georges Lepape, Pierre Brissaud, A. is. Marty, yg Brunner, Pierre Mourgue and, Ouy imnnv ffvnmnlpa tt their more formal work paintings, drawings, etc. will also be on view. The exhibition will open with a private showing on Monday evening, Nov.

12, under the patronage of M. Paul Claudel, Ambassador of France to Washington, and will be for the benefit of the French Hospital. Art Galleries 32-34 East 57th Street EXHIBITION Sunday 2 to 5 Monday 9 to 5 Antique and Modern FURNITURE Brontcr, Statuary, Palnrifift, Prints, Brie a Brae, China, Porcelaim, Sterling Silver, Sheffield Plate, Lamps and Brackets, Textllei-'Tapeitriei. I XVII Century Flemish Tapestrie 8'6 10 8.1. Dm.

WtdnMikr. Thuradaf and Saturday, Nv. 741 and 10 at 2 P. M. Each Day.

dosed stock of Crystal and Metat Chandeliers Candalabras-Wall iconcei The largest and most exquititc collection of Crystals ever offered and include design! for every period since the XVH Century and desirable for every purpose, from the well known Reinhold Palme Sohne Haida (Ctecho-Slovakia) 200 ft an In thlt taclwiw art Alto a collection from ALBERT SONS 779 Third Avenue Who have been in this line for the past 40 years, And Includes one example 9 feet In diameter. To h. Sold Friday and Kuiirday. 9 and 10 al I P. M.

Each Day Sal Conducted by Charles M. Moran Van Brink's Auction Rooms Broadway, cor. 80th St. Offer, tor Public Auction A Choice Ajuortmant of Furnishings 'Works of Art TO BE SOLD Thursday, Friday, Saturday November 8th, Sth and 10th 3:15 a'clftck day Unuiual Loui. Walnut Dining Room Suit.

Brant. M.unUd BEDROOM SDITIS 'Aubuuon Furniture and Hangings MARBLES BRONZES VASES Collection CWie Furniture China Ola Hanflnfa Curlaa Cablnfta Furniture Fedrttal. Clack Salt ralnttnii Andlrana. Tiffany Elliott Chin Hall Clock. 75 ORIENTAL RUCS 4 CARPETS M.

VAN BRINK, Auctioneer Exhibition with Catalogs Tuei. (Electioa Day), Wed. Opening Exhibition Until Nortmber 24th Lithographs of New York tiLENN COLEMAN Paintings In Couachc ERNEST FIENE WHITNEY STUDIO GALLERIES 10 Wm Sth Strtl tin York, N. exhibition of PAINTINGS By H. H.

NEWTON Nov. 1 to Nov. 14 Durand-Ruel lea. 12 East 57th Street NEW YORK Artists Analyze America in Terms Vanity Fair entitled. "A Few Conclu Paul in an Impression of his visit to arrangements and displays, our archi tecture and our art ana industry movement.

He speaks of our auto mats and quick-lunch restaurants and other institutions of an essentially practical nature as epitomizing the modern spirit. He finds a special beauty in the thoroughness with which they apply the axiom. "Function must determine form." Of our architecture he says: "In its Impression, as in its whole being, in its technique and dimensions it is so completely modern that even the imposed Oothlc and Renaissance ornaments cannot alter the effect. This was how New York appeared to me in its architecture and its life as the city which gives a stronger Impression of modernity than any other human habitation." tlEIER-GRAEFE Is far less gener- l'4 allzed in his observations, but for all his careful analyses and comparison he admits that the American flavor eludes him in tact, that we have not Incorporated it in our art. He comes back to the skycraper concept of our civilization as a measure for artistic expression.

Because it uniquely expresses our civilization does because It Is the destiny of the majority of Americans to live and work under skyscraper conditions there one can quote Ford Maddox Ford's title to his American impressions. "New York Is Not therefore the skyscraper rhythm should find come expression in our art. He does not mean anything eo obvious as painting pictures of skyscrapers, but getting into our art a metaphysical relation between how we ana 'feel and the tkrscrtper. Ar, Fifteen of the best known independent artists and designers will exhibit at the exposition of American modern art In the American Designers Gallery at 145 W. 57th St.

These will be guest exhibitors and their exhibits will be placed In the main salon, The exposition will be opened to the public on Nov. 9, following a private preview the night before. Among the guest artists are William Zorach, Edgard S. Forzina. Lillian V.

Gaertner, Erika Lohman, Paul T. Frankl, Maurice Heaton, Walter Kantack, Henrietta Relss, William E. Lescaze, Edward J. Stelchen, Eg-mont Areas, Peter Muller Munk, Wharton Escherik, Frank B. Kelly and Hunt Dlederich.

Most of these artists and designers will exhibit decorative accessories and single pieces of modern furniture. The main exhibit will consist of ten rooms by the members of the gallery, several of whom, however, will show contemporary accessories. The members of the American Designers Oal-lery who are exhibiting are George Blddle, Donald Deskey, Wolfgang Hoffman, Ilonka Karasz, Ely Jacques Kahn, Raymond M. Hood, Robert Locher, Henry Varnum Poor, Ruth Reeves. Winold Relss, Herman Rosse, Martha Ryther, Carolyn Slmonson, Joseph Urban and Ralph T.

Walker. An exhibition of European wall- Ross Moffett The Middle West's reputation for producing vigorous, indigenous talent is again upheld by Ross a native of Iowa, who is having his first New York exhibition at the Rehn Galleries. True, the paintings, water-colors and monotypes, which he exhibits here are all of Province-town subjects, but their quality is the ruggedness and simplicity which the Middle West has come to connote In our minds, and which the eastern coast once did before its 'Intensive civilization won for itself the title of the effste East. There is nothing of art colony self-consciousness about these direct dryly humorous statements ot Cape Cod villagers going about the business of existence, cutting ice, hauling driftwood, planting potatoes and setting off on fishing expeditions. The artist has made an epic of the commonplaces of existence often adding a touch of humor which Is so Interwoven into the design that It is not an unimportant part of the picture's appeal.

The pictures have considerably more of the epic than they have of the humorous. The artist has a predeliction for strong patterns and the types who form the human element in his designs are generalized, which adds much to the epic effect of the canvasses. In the water-colors and monotypes and especially in the latter the somewhat monotonous tonal quality of his oils, has been given a variation and translucency that is very attractive. Landscapes and Figure1 PAINTINGS ROBERT V0NN0H Portraits on Ivory EULABEE DIX i Krombtr Sth lTlh MILCHMerics i 108 West 57th Street C. W.

KRAUSHAAR ART GALLERIES 680 Fifth N. Y. Exhibition of PAINTINGS and SCULPTURE br J. D. FERGUSS0N Nartaibrr 3th 11th PAINTINGS BY ROSS MOFFETT At the Galleries of FRANK M.

REHN "3 FIFTH AY, B.t. S4ik ft 55th LOUIS COMFORT TIFFANY FOUNDATION NINTH EXHIBITION THE ANDERSON GALLERIES NOVEMBER 7TH TO 24TH PAINTINGS BY CORDELIA de SOHWEINITZ L'nfi'Z iVovember ltlh BABCOCK GALLERIES E.it 57th Street G. R. D. STUDIO CI ctl tllk Klrrrl.

Y. EXHIBITION BESS0N, FLANAGAN, S0NDAG, W1LHELM i Nar. B-17 1 P.M. 1. MORTIMER UCliTENAUER DECORATIVE PAINTINOS AND DRAWINGS THE ANDERSON GALLERIES (Ik In Si'K LUCIEN ABRAIUS EXHIBITION of PAISTIXGS I To November 10th M0NTR0SS GALLERY f.

Odilon Redon A collection of palntlnjs, pastels, drawings and lithographs by Odllcn 1 Redon, many of them loaned for the I occasion from museums and private collections, is being snown at inc ue Hautte Gaheries. inis is tne nisi ODDOitunity that the American art lover has had to see so comprehensive a collection of the ce.ebrai.ed French mystics work, although since the days ol tne Armory snow mere has been a growing appreciation for his work, many of nls most exquisite pictures now belonging in American collections. Redon is the greatest of the European painter mystics since Blake. His romantic mysticism, combined with his exquisite incomparable quality as a painter, are at tributes which nave a special appeal to the American art lover. The American art lover has a touch of romanticism in him; he enjoys pic tures which stir the imagination provided, that is.

if he is a sophisticated art lover, the picture does not suiter esthetlcally and turn pre-Ra- Rubens, let us say, expressed the exuberance of the Renaissance in his voluptuous, full-blooded portrayals of tne good, material mins ot me. so we should have an art expressing our tempo. He singles out the cerebral, charming and competent still lifes and landscapes painted by Sidney Uickia- so nas coming the closest to express ing this relation. But he comes closer to stating the quality of American painting, and this quality as characterizing an aspect ot the American temperament, when he speaks ot our happiest expression being water-color painting, and that this medium is characterized by a "reeling ol aspira tion." It Is this quality ot humanly understandable charm and giacious- ness, an absence of theory and cult and an avoidance of the obviously erotic and sensual and exaggerated, that characterizes the point ol view oi the outstanding American painters as it does that of the American art lover. It Is a key to the American tempera ment which demands beauty and charm and wants a happy end lor plays, moving pictures and stories, saw IF to the European tills emphasis upon charm and happiness is somewhat childish and obvious---the attitude of an esthetlcally Immature people it Is nevertheless an attribute In which lies our greatest strength, the refusal to believe that happiness 1" not the lot of every individual.

He says that we do not use color, despite our supremacy in it. to express our times, as. for example, was the ue Daumler made of the medium In his polemics against the politlcul abuses of the reign of Louis Philippe, or as Ouys did to record the morals and manners ot the Second Empire. But what about Edward Hopper's and Charles Burchfleld's portraits of our native architecture, as intrinsically American as any skyscraper as Interpretative of America and as much of our times as any illustration ot events could be? Yet in these no polemic against poverty or our crudity and lack oi sophistication, but a humor and a romanticism without sentimentality and an emotional response to the commonplace and everyday that is very American. Such painters, if we are discussing American water colors, are surely far more American and quite as competent as the water colorlst Herr Meler-Oraefe cites as our best and most typicul.

Without entering into a refutation of ills statement that water color Is our most successful medium, and that all ot our foremost painters weie bet ter as water coloiists than painters in oil, it Is Interesting note that Meler-Oracte rates America as more esthetlcally proficient than Englttcd, if not up to France or Ocniiuny. 1 Shank 2 Young 3 Still Life, 4 Pecari Paul, architect-designer and onetime cartoonist for Slmpllclsslmus and director of the Staats Hochschule for Frele und Angewandte Kunst In Berlin. Both of these gentlemen paid a visit to the United States last aprlng, and both have recorded their impressions, Meler-Oraefe in an article appearing in the current issue of alons on American Art," and Bruno phaellte and anecdotal. The great popularity enjoyed by our American painter mystics. Arthur P.

Davles and Rockwell Kent, attests to this prcdellction. Although Redon'j career coincided with the Impressionists, his quality and point of view was separate and distinctive. If he can be grouped at all. he belongs with Fantin-Latour and Cnrriere, artists In whose paint ings tne emotional content was ns strong as the esthetic. Like Fantln he was passionately fond of music a musical quality is discernible In his painting, just as lyrical poetic quality is also felt.

Like Fantln many of his lithosraphs were n- splred by musical themes In beinj a mystic it was natural that he should admire greatly the fantastic and macabre of Edgar Poe and Baudelaire, to the point of illustrating their works or rather setting down his reactions to their work. stirring as are these musical' and literary in spired lithographs (he used black and vnite in his illustrative work) the Redon quality, In its purest strain, is found only in the paintings and pastels. In these he is no less the painter because he can invest a realistically enough presented bunch of anemones and popples with a charm and mystery that defies analysis and transcends In its suggestion of the mystery of the universe his most fantastic drawings of the supernatural. A very little has appeared in English about Redon, the only comprehensive appreciation being the Walter Pach brochure published ten years aso, therefor the biography and appreciation by Claude Roger Marx and which is used as a foreword to the catalogue, will be welcomed to Redon enthusiasts. It closes with the following charming and tvpically French rhetorical flourish- The country of Walt Whitman and of Poe.

to whom our own Baudelaire is so deeply indebted, was predisposed to appreciate Redon. whose work, victoriously overcoming the spirit of perversity, finally gives creation after a sicklv nourishment, to what might be called In opposition to the others, the Flowers of Coodness Les Flours du bien) let the New World take unto itself, with a young heart, the inventor of to many new worlds. Emit Ganso Emil Oanso's exhibitions have come to ba one of the looked forward to events of the exhibition season, i This talented young painter lias i nnde so rapid an ascent on the lad- i tier of recocHltion and success because each exhibition hs only gone to prove that the talent which he showed in his first exhibition was a living quality, which must lnevlt-pbly develop as it matured. But there are limits to what any artist can occomplish however Industrious iie may be. And a really representative one man show a year now that he has taken up oil painting is too much.

With drawing and water colors it is another matter, but oils require greater deliberation. The present collection of his paintings, water-colors, drawings and prints now on view at the Weyhe Galleries, shows him quite as proficient, quite as seductive and vitol in all the mediums excepting the oils. Thero is no can-vas here which is an advance over the "Marie" which won him so much Journalistic applause when It was exhibited last spring at the Whitney fitudio Club. The present group ol figure studies are lovely and able; tl.ey have the typical Ganso qualltv of line and color, but something of the vitality and Interest is lacking. What Oanso should do is to retire frnm Hip pvhihltlnn irm iH f.ir nnrl rwilnA haflr a fnw In which express all the dn vlvre, tli" rlmrrn nnd tecbr.trpj proilciency New York, which appeared in the September number of Die Form, a German art monthly.

Meier-Graefe attacks his subject as a critic long accustomed to analyzing quality and Intention. It Is a scholarly summing up of an impression, but an impression based, I should say, on insufficient observation, and somewhat biased by those American radicals who talk THE Philharmonic-Symphony Orchestra, under the direction of Willem Mengelberg, assisted by the society's chorus, will perform for the first time in America at Its Carnegie Hall concerts this Thursday afternoon and Friday evening and next Sunday afternoon, -Richard Strauss', latest composition, "Die Tageszelten." Op. 76. On the same program will be given Brahms' rarely heard Rhapsody for alto and male chorus, with Sophie Braslau as sla-lst, and the same composer's Variations on a Theme by Haydn. "Die Tageszelten" is a setting for men's voices and orchestra of a cycle of four nature poems by Joseph von Eichendorff, the German poet, who Inspired some of the finest songs of Hugo Wolf.

The four poems set by Strauss, "morning," "Noonday Peace," "Evening" and "Night." correspond to four contrasting symphonic movements: The first, an allegro; the second, a slow movement; the third, a Scherzo; the fourth, an adagio Finale. "Die Tageszelten" was performed for the first time at the Sacnjcrfcst given in Vienna last July. The chorus was that of the Vienna Schubert-bund. The orchestra was of the Vienna Symphony, under the direction of Viktor Keldorfer. Straus3' score is dedicated to the Schubert-bund and its conductor.

This afternoon at the first of a series of seven Sunday concerts at the Metropolitan Opera House Cornelius Van Vliet, 'cellist of the Philharmonic-Symphony, will be the solop 1st, playing the D'Albert Concerto. Kodaly's "Hary Janos" Suite and the Tchaikovsky Fourth Symphony complete the Next Saturday afternoon Walter Damrosch will conduct the third of his Young People's Concerts at Carnegie Hall. The program Illustrating "Emotions In Music ot the 19th Century," includes the Prelude to "Lohengrin," the second movement Gilbert Stuart Engravings at N.Y. Public Library This is a year of centenary celebrations In the field of art. Durer, Goya, Gilbert Stuart, Thomas Bewick: there is stimulus to the mind in the very wide variety which the names suggest.

Stuart, born in 17S5, died July 27, 1828. His activity as a portrait painter and the tame which it brought to his name are closely associated with that period ot American life which Is marked by the birth and childhood of a new nation. 8tuart painted the history of that time In Its individual expression of personality. He painted many notable figures of that day. but his name will always be connected especially with that of Washington.

And yet, as Royal Cortlssoz says, his "chief title to fame is his mastership." This latter element will naturally find its strong emphasis in an exhibition of paintings by Stuart. Tho historical interestdocumentary, if you please may naturally be more insistent in a collection of black-and-white epjrav-Ings alter this artist's portraits. Such a collection has now been placed on view in Gallery 318 in the Library, the prints being malnlv those collected by the late Pfnuiel P. Awr, fori Schumann's Evening Song, Schubert's Moment Musicale, the second and fourth movement from Tchaikovsky's Fourth Symphony, and the Fire and Slumber music from "Die Walkure." The Philadelphia Orchestra, under the direction of Leopold Stokowski, will play the second concert of its I New York series on Tuesday evening I at Carnegie Hall. Nina Koshetz, soprano, will be the soloist, in songs by Grctchuninow and Moussorgsky.

The feature of the program will be the first performance here of a symphony by Szostakowlcz, a 22-year-old comnoser of Soviet Russia. He is one of the "Leningrad" group of Muscovite composers and a pupil ot Glazounow. The rvmphony, opus 10 of his published works, was published In 1027, without key designation, and is scored for large modern orchestra. The American premiere took place in Philadelphia on Friday and Saturday The first half of the prgram embraces the overture tp "Alceste" by Gluck, the second Brandenburg concerto of Bach, and the overture in minor bv Handel. The Bach concerto will employ as soloists four of the first player of the orchestra; Mlsrha Mischakoff.

violinist: William M. Kincaid, flutist; Marcel Tabuteau. oboist, and S. Cohen, trumpeter. The Society of the Friends of Music will give its second concert in the Town Hail this afternoon.

The orchestra of the Metropolitan Opera Company, the chorus of the Friends and several soloists Ethyl Hayden, roprano; Max Altglass, tenor, and Dudley Marwick, bass will participate under the direction of Artur Bodanzky. The program will be devoted to Italian music, to Maliplero's orchestral suite. "La Clmarosiana." introduced bv Mr. Mengelberg last season and Verdi's "Stabat Mater." "Laudl Alia Vcrgine Maria," and "Tf Deum." room. There are large prints and small, important and less so, but all contribute to the Interest in personality which predominates in this exhibition.

The larger prints include work by British mezzotinters: Ward, Smith, Hodses. Keating Jones, Say, Turner. The smaller ones are mainly the work of Amprlr the first half of the Nineteenth Cen tury, a time oi tne influence of bank note engraving. And there are quite recent names, such as that of S. Ar-lent Edwards.

All of which accentuates the added interest of the engravings per se, an interest of technique, of changing styles, of individual approach by the engraver. The exhibition will remain on view until March, 1929. Baroness Frisching Exhibits at Art Center An exhibition of work by Lily Ket-tler Frisching of Florence, Italy, will be shown at the Art Center Nov. 5 to 17. Included in the collection are pas-lels and drawings of many representatives of Florentine soclely.

There nrc also studies or nudes and laud-Z'W. each rendered with a force-fril simplicity which gives added cbinm the ph.tuiew Baroness Kuttler Irhching. whose v10 J.101", Laura "eton New oric, Is an artist whose work has roce.v;:l meritorious recognition and iwmo many important exhlbt- nior and better than they paint. Bruno Paul, being an artist him- self, if philosopher and critic as well, has based his conclusions on those aspects of American esthetic expression which are most sympathetic to his metier, architecture and the arts of design. His essay is an analysis of the American people as deduced from this phase.

His conclusion that the outstanding characteristic of the American people is a craving for beauty is probably the first time that they havs been so summarized. And Meler-Oraefe. through the long dissertation makes the discovery that aspiration is the outstanding attribute of our water-color painting, in which medium he adds we have made our most accomplished and individual contribution. PAUL says of New York: "We know that there are extremely high buildings In New York and other American cities, we also oeneve ma-, a type of human beings has evolved who live at a feverish tempo among these forbidding skyscrapers and whose preoccupation with business precludes any tune or interest for the pursuit of the cultural benefits the concomitant to a nobler and happier civilization. Such an entirely erroneous and superficial Judgment is rapidly altered In recognition of the organization which has made a city o( indescribable beauty out of a narrow Wand between the Hudson and East Rivers." Further on he speaks of our Inborn feeling for beauty, which was at first manifested in the appearance and dress of the American T.oinen and the ideals of health and sport, a feeliniz which is being transmitted to all other branches of human endeavor, notably to OW enop-rtndow bit Slit; Sum, If.

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