The Brooklyn Daily Eagle from Brooklyn, New York • Page 26

2 THE BKOOKLYX DAILY EAGLE, NEW YORK, SUNDAY. MARCH 22. 1925. NEWS AND VIEWS ON CURRENT ART 7iT i r. MR.

HERBERT HENSHAW Leon Kroll muaern Briusn rrinis At Rrnr.Lim Mucoiitn iniwusu i Mie he THE print lover Is apt to prof ess an acquaintance with modern British etchers because he knows the output of such well known figures in the print world as Blr David Cameron, James MrPey and Muirhead Bone, all of whose latest plates are exhibited und sold In this country atmnltn nennnlv wfth their evhlhltlnn nnrl Knlft In London. Of the large num- Plans and Photographs of Work in Landscape Architecture Also occurring aptly and, synchros nously with Garden. Week are the enchanting plans and projects ot Charles Downing Lay to Veautify ami' make more efficient our already existing but disregarded small parks as well as photographs and plans ol gardens that have already been carried out. These are shown at the Kraushaar Gallories and make an exhibition which all lovers of expert craftsmanship and beautiful presentation, whether or not they understand the technicalities of the subject, will enjoy. The plans, while stating In clear terms what the idea is, have also an unusual visual appeal through their painter-like color and.

arrangement. They have somewhut the same decorative appeal that the old maps have something not inherent in the subtept. Kur in ber of expert print-makers who do not enjoy such an international reputation we know nothing. In consequence It occurred to the print department of the Brooklyn Museum that collection of British prints never before shown in this uuuiiuy nuuiu ira iivvdi mm Diiiiiuimiiijj luo mi iiiq iiiiwcum policy In showing the works of foreign artists, the material must be fresh, representative and never before shown in Greater New York. These were the sole limitations set upon Hesketh Hubbard, founder of the British "VIETTE" ri iT 11 I At Vn ATT) I- i jt 'i Portrait by Stanislav Rembsky.

0'n View Neighborhood Club. 104 Clark 5t. Kroll. hn Galleries. Portrait figures, studies and landscapes by Leon Kroll now on view at Kehn Galleries show the development of his art from what was Home years back dangerously near to' being a near-Bellows quality, to his present individual and personal style.

Artists living In the same community, coming together because of admirations and similarity of ideals are bound to reflect inch other to somo extent. This was especially true of the French Impressionists. Early Monets and Manets are very like and Renoir had a look of them both. In America this same thing holds for the Woodstock colony where Georgo bellows, Eugene Spelcher, Leon Kroll, John Carrol and sometimes Robert Henri have had their summer studios. Kroll's favorite model Is his wife and understandlbly so as her pale skin, oval face and dark hair in its unusual arrangement mnKe ner a most palntablo subject.

The Woodstock artists are fortunate in having palntable families. Family groups, w-lth landscape or detailed Interiors for backgrounds, friends, wives and children, arc the first choice for subject matter. Portraits of the professional model seldom occur. All of which adds a human Interest lo their pictures quite apart from their slgntflcence as works of art. The public thus taken into the artist's confidence, he learns how they spend, their summers, where they Picnic, how they take their siestas and how they dress when Jhe convention of cky life is disregarded.

Tho first picture which strikes one upon entering the gallery Is the large imposing full length portrait of Mrs. Kroll, ascending a short flight of steps, dressed in a gorgeous yellow velvet evening gown, "Enter Viette," it is named. There are soma fine passages of painting in the velvet dress, and there is an air of statu esque serenity about it, but although his most ambitious canvas, it Is not nis most successful. The smaller portrait of his wife which Is his most distinguished portrait in the exhibition and the group of three women shown at The New Society are finer mings. viette" haa larire Spaces of empty canvas, Is not com pletely carried out, and the drawing of the bent knee doesn't seem anatomical.

Kroll's artistic expression is made up of warring elements. Ho seems to wage a fight between his natural inclination to be pictorial and pleasing with his understanding that In adopting the Idiom of modernism this win not do. His Intellect downs his natural bent. The drawings attest to this. Drawings which are apt to be so sure an Index of a man's artistic stature.

For all their immediate appeal, the suavity and grace of line, they are verging on the pretty. He is severer with himself in his paintings, more on his guard against what he knows to be his failing. In some of the figure pictures, not so much those on view ar ones I have seen at other times he is so Intent upon giving us pure painting, and distinguished form and design In the modern manner, that he tends toward too studiedly modern arrangements and distortion of his charming subject. The happiest balance is found In his landscapes and street scenes. In these he preserves the realities; his arrangement Is not too studied, his color is fresh and vital and hn.hn the happy faculty, of presenting- his subjects from an angle Immediately Kroll has also painted a nude With Bellows and Sneicher he make the third of the Woodstock group to have done so this past year Kroll's Trllbv-like girl with her shoulder-length brown hair is if doubtedly seductive, she Is also slightly prettied: It Is not such serious or accomplished piece of worn as some or the other canvases Krl Ancforsnn at Durant-RueVs Karl Andersons' ethereal children and wralth-liks women In settings of pal green orchards and flowering gardens are strangely out of place on the walls of the Durand-Rue' Galleries where the nll-blooda-l French Impressionists held sway and where recently was shown the robuot I Americanism of George Bellows.

Anderson haa a discon'certlng way of suggesting the art of several different men so that it Is difficult to disentangle the real Anderson. It Is, however, In Its pure- state, I should Judgs, opalescent color harmonies which are made up of slender yellow-haired little girls clay ing at games In E'yslan fields and gardens of th Uesperldes. Delicate and tasteful treatment of Intrinsically lovely subjects are his fort In these he rise to lyrical height of color and Idea. When, however, ne grafts upon hi fundamentally lyrlaal point of view the styliem and robust color of Augustus John or th olsssl-rlsm and gray tonalities of the flat decoration of Dearth, he produce pictures In which not only all claim to distinction i lost but In which he completely loose hi Identity a well. Some Young Artist of Promise The Dudenslng Galleries, when not showing the painting of, arrived artists, occupy themselves with presenting the works of young artists who are finds, so to speak.

Youn.j Mr. Dudenslng goes the rounds of the radical shows and picks uut man whom he thinks have something fresh and out of tho ordinary to say. He has now selectedgroup from the recent Art Students League exhibition which is on view at the galleries. Each of the men in the group will bear watching, he believes. It has become almost an esthetic efficiency test for him, as to whether or not his Judgment in picking them Is going to stand up after the test of a few years time.

I The outstanding figure the group Is Floyd Parsons, who until haa appearance at the Dudenslng galleries has only appeared with the. Salon of America, the Independents and the Art Students League Centennial. His painting is personal; It would be difficult to attribute influences to this or that master, but It comes under the general head of modern painting. He paints massive nudes in rich, hot, sometimes dirty colors; he has a robust full sense of rhythm, but his art needs both discipline In execution and in taste. Quite a different talent is displayed in the precise, neat, whimsical stlll-lifes of Herman Trunk for which he chooses as subjucta closeup of a flower-trimmed, pink had and the kaleidoscopic effect of a box of assorted bon-bons; K'mar Schultz has a cool, cerobral point of view In his lit -I drawings, and Edward Henry makes a meticulously accurate drawing of "The Eighth Street 'L' Station" which, for all its careful statement of detail, haa both humor and a Hvely sense of design.

The other srtlsts who make up the group are Ilosarlo Aurnicl, Virginia Fterresford, Leonard Dyer, -David Morrison, Jack Sparrow and Rudolph Tandlnr. Pictures by the Late George Varian An exhibition of oils, water colors and etchings by the late George Varian are on view at the Ovlngton Gallery. They present an attractive and diversified group. Every aspect of life, it would seem, was subject for the artist's brush or needle' romantic fantasies, realistic bits of city or farm life, portraits, landscapes, street scenes and genre. Eclectln as he was In choice of mn terial, he saw each of his subjects from the same point of view, whtch was a romantically Idyllc one.

His color was always Joyous and high In keye, his arrangement Immediately pleasing. A noteworthy character lstic of his oils Is the rich, sensuous surface quality he was able to get, ensinel-ltke In texture and depth of tone. This he achieved by scraping and rubbing down his picture und by flatenlng the piled on color with pa etto knife. Salons of America To Elect Directors The Salon of America announce the annual election of the board of directors. The election will bo by mall, as their members are scattered throughout tho United States.

Mem bers that have changed their address since the lust exhibition are requested to send new address to the secretary, In care of the Anderson Galleries, 69th at. and I'urk ave. New York City. PRINTS BY NOTABLE BRITISH is in in a a a A Gallery of Artistic Celebrities Tliose--who Interest themselves in who's who ln the world of art should not fail to visit the collection of portraits of painters by Wayman Adams now on view at the Grand Central Art Galleries. are a dozen well-known figures painted with Mr.

Adams' unfailing zest and acute observation of character. there an occasional touch of caricature theso keen characterisations, but all cases it Is the man. There is the Hassam, for instance llassam to the llfo, gusto and Joy of living surges from the canvas, if it surges trifle too much in the exaggerated color of his complexion, which In stead of the well-known Hassam complexion is here a trifle apoplec tic in hue. As a contrast in type and method of presenting it, the portrait of Glenn Cooper Hen- shaw, looking like an Eastern ascetic, deserves consideration. This is not typical Adams, the facile brush work is quieted into a careful, almost tight rendition of the delicate features.

The portrait of Sidney Dickinson. which looked bo well in the recent Allied Artist Show, only strengthens the first opinion of its excellence when shown In less crowded quarters. Un questionably it is the artist's best por trait irom the point of view of an esthetic whole. True. Mr.

Dickin son has put on ten years while sitting for the portrait, but overlooking nis sudden acquisition of years, it is Dkeness, a distinguished arrange ment and a remarkable example of the fast dying school of virtuosity. Other portraits are of John r.dward Kcdfleld. George Elmer Browne and Joseph Pennell. Portraits by John da Costa Portraits by John da Costa are being shown at the Seligman Galleries under the direction of Marie Sterner. The portraits extend over a long period of years.

Judging from the Internal evidence offered by the sitters' clothes and difference of technique. Mr. da Costa Is a member of the Royal Society of Portrait Painters and other very British societies, and his work carries with it all that professional English portraiture connotes. In his older portraits he painted In the low keye and close color values which were the vogue 20 yeurs ago. Of late years ha has emerged into a brighter palette, while his technique Is more casual and sketchy.

Frequently the heads are dashed In on the bare canvas. Much use is made of vivid pink cheeks, and to Insure solidity each form Is finished off with staccato highlight. This gives a certain vivid freshness, but they lose the reserve and taste of the earlier ones, among which the portrait of Mrs. James Stowart lloli is a notable example. The new Montross Gallories, to he situated at 26 E.

S2d will open April with a representative group of American paintings. Mr. Montross Is at work collecting his exhlbl- tion and promises to Inaugurate the new galleries with a strong showing of American art. Joseph Pennell' pupils In etching and lithography at the Art Students' Lsgue will hold their third annual exhibition In the Anderson Galleries, Park ave. and 6th March II to April 14.

The department of graphic arts has been so successful that a class in wood-cutting and color-printing under Allen Lewis haa been added. Work by this class will exhibited. ARTISTS AT EXHIBITION By Leon On View at Rf Brooklyn Society of Modern Artists to Hold Annual Show The third annual exhibition of the Brooklyn Society of Modern Artists will be held at the Henry Ward Beecher Memorial Gallery of Plymouth Institute, Brooklyn. The exhibition opens with a private view reception Monday evening, April 6, 1925, and will continue until April 80. Gallery will be open free to the public, from 10 a.m.

until 10 p.m., Sundays Included. A meeting of the society was held at the Whitney Studio Club March 10 and "Alexander Brook and Stuart Davis Were elected members. Stanislav Rembsky Shows Portraits Stanislav Rembsky, the young Polish painter who Is now holding an exhibition of recent portrait and figure studies at the Neighborhood Club, 104 Clark shows a marked improvement in tlie present group over the one he showed in the same fallery last season. Ills grasp of character is surer and his knowledge of form, always his strongest point, not so apt to be weakened by the use of unrelated and undistinguished color. It Is for that reason that his portraits of men have been, and etill are for that matter, more uniformly successful since, in these, he has a more legitimate preoccupation with forceful characterization and of necessity must keep to quiet When he paints women he lose hi reserve and, in what is a concession to feminine charm, weakens and prettifies his forms.

This is. however, only true of those portraits of women which are orders. In figure studies such a the ''Isabella," he show that he can be quit as forceful and robust as In his portrait of men. This picture has a fullness of forms and a rich romantlo color quality that Is rem iniscent of the Italian Rennalsance, The foreword tells us he worked at modeling at one time In his career. The almost sculptural quality of some of the portraits and the fin r.tudy of form ha has made In hi painting of th Venus of MIlo.

as seen by candle-light, attest to this. or his portrait or men th three-quarter-length portrait of Mr. Herbert riensnaw is tug most aocom nllshed from point of character, composition and distinction of color. Herbert Meyer's Lyrical Landscapes Herbert Meyer I an artist ho want to. paint lyrical figure com' positions, but who gst much mo of the real spirit of potry, which is what he I after, whan ha leaves out symbolical flguras.

When trie to put nature in allegories the nymph eludes him. It I therefor hi straight landscapes which are th more significant expression, and on turns to such theme as "The Calm Valley" and "Winter In the Hill" for the lyrical and poetical which th others lack. Another angle in which Print Society, who was invited by the terrible the exhibition, which opens In lyn, Museum this afternoon. With the three most notable figures in contemporary British etching eliminated by this basis, it is Interesting to find what, a rich and di versified collection Mr. Hubbard has sent over.

There are 230 prints numbered in the catalogue; some are men with reputations still to be made, but In whose talent Mr. Hubbard firmly believes, others have all possible initials affixed to their names. The comparison of national characteristics must always be a fusci-natlng occupation, and were one But down in this exhibition without knowledge of its origin we would be immediately aware of its nationality. The making of prints is a far more Wrious art in England than it is wait us. Our etchers have taken up the graphic arts aa a side issue to painting, as a rule.

But in England it has been practised as a separate and distinct branch of the arts. In consequence English etchers and the school of English etching have risen to technical heights that we have not approached, nor has any European country for that matter. Bo that collectors have been proud to place English etchings with the finest of the old masters. The English have always been draftsmen at heart and in consequence found etching a sympathetic medium for their love of pure line. It was Seymor Haden who was responsible for the revival of Interest in etching and print making which occurred in England in the latter half of the last century.

And after him Whistler to give a vital and creative turn to the art for which Haden had demanded the utmost in meticulous craftsmanship. "It is fitting," writes Lewis Hind, the eminent English critic, "that from the New World should come almost all the essentially new elements which modern etching i has added to the new tradition." Pitting, perhaps, but except for the fact that our experimental attitude Is like Whistler's we have not turned out any more great etchers. The craft of print making as a result of Impetus given to the art by its new found masters was taught at the Slade School by such a master of technique as Alphonse Legros. Print societies sprang up, and the art of the print received as much consideration as the oil painting. With such opportunities for study und such appreciation, prints were turned out i which even if they lucked the spark of creative genius wertf nevertheless sound In their knowledge and practice of the art.

lie British artist appreciated that sn i tching was not a casual expression, side Issue to painting, dependent upon thone qualities which make a painting good, but another medium of different ldeuls, lit which the purity of the line and Its ability to tell the story was the test. Coming back to a comparison b-iween contemporary British and American etching although I have always upheld in these columns the vitnlliy und indigenous quality of American Brt excellence In craft and draftsmanship, In painting as well as in the art of the black and white, jniiHt be conceded to England. Joseph I'ennell when he opened Oils valuable class in etching at the Art Students I-eague. the first of Its nrt in New York City, made th that tho majority of the jitudents came to him without any foundation of drawing and, what is more, expected to master the craft of etching in a few lessons. No one of them considered It an art to which they could devote a lifetime's serious effort.

The English student holds the opposite point of view. hence the authority of a British jirlnt ahow in technique and am-idtioua material over the more lm-fmlsiva and casual appearance of an American collection. Predominance of figure Subjects. Very English is the predominance of the figure subject. What Amer ican group could show so many por trait andflgure groups of such impeccable draftsmanship? Here is Herald Brockliurat, known to us for his portraits of women pre-Kaphael- ue in ivpe, out done in tne detailed exactness of the Florentines and who in consequence won for himself the title of the English Hot-lecelll.

His accuteness of vision, the eonsummaie skill of his draftsmanship, stood him In good stead when ha took up etching. The portrait detain irs Included In the present collection form a most interesting rrouu, humanly speaking, because of the appeal of their subject matter tall, slender women, reminiscent of the Augustus John type, and portrait heads. Another artibi known to us more through his palnt-i'tgs than through his prints is Hhannon, who Is represented with group of lithographs. rilmn-nnn la the only English lithographer whose works may he comparsd with (he great names. Hhannon Is a latter any pre-Hiipbuellte, hut more eclectic.

In his rhythmical compositions of slender, Uellcutt female figure we sense something of Whistler's elegance, the romanticism and HERBERT MEYER EXHIBITION I mil Marrh tath BABCOCK GALLERY 19 East 49th Street, New York Water Color by Isabel L. Whitney I Mil April 1st A INS Lit GALLERIES 77 Fifth Avenue, New Yerk Exhibition of Landscape Ida Maynard Curtis I nlll Marrh Ralston Galleries 4 East 46th Street, N. Y. museum's print department to as- the print department of the Brook softness of form that was Fantln's, and suniathing of tho decorative quality of the Venetian High Renaissance. Laura Knight is another artist who comes to us for the first time an artist In black and white.

In her prints, which are a skillful handling of etching and aquatint, she displays the saint invention of un- tmual und striking design which is the characteristic of these paintings which she exhibits In the year ly Carnegie International. A distinguished Azure in the tielrt of lithography, which It was one of Whistler many claims to greatness to have revived as a medium for artists, Is Miss Ethel Gabaln, whose delicately charming imaginative de signs of Columbines and Pierrots, surrounded by all the paraphernalia and accessories of carnivals and roc-coco fetes gallants, are executed with a fine quality of tone and vivacious line. While reminiscent In subject of both of them. It Is to Conder's rhythmical, silvery use of the stone that we must trace her inspiration, rather than to Beardsley's clean cut arabesques. Still another lithographer Is John Copley, who, while we are finding Influences, has been undoubtedly in fluenced by the Ironic violence of Daumier.

It Is a milder form of satirism and, while accomplished, a less Incisive, robust use of the medium. Popularity of the Woodcut. The publication of the Moxon edi tion of Tennyson's poems, in 1857, Inaugurated one of the most Interesting movements In Illustrative design of the last century. All the most original British artiste of the time were concerned with It and the present popularity of the wood block print is to be attributed, if Indirectly, to this movement. Not that Millais, Itossetl and Sandys cut their own blocks they were executed by skilled engravers, but the seed was sown for the possibility of artists designing and cutting their own blocks.

Real izing the beauty and fitness of these designs for book illustrations, Charles Shannon and Charles Rick ets were the first of the moderns to give artistic impetus to original woodcuts; that is, designed and cut by the artists themselves. They believed that It was the most esthet- Ically harmonious medium for book decoration and illustration. What had lor a time during the perfection of mechanical processes been considered old-fashioned and inef ficient was now to become the most sought-after form of book decora' Ion. The romantic, quality of the violent contrasts inherent in the woodcut. Its power of suggestion, makes It especially suitable for talcs of romance and imagination.

We find in the present collection artists such as Sydney Lee, C. W. Taylor and John Greenwood, who practice the medium with full appro clarion of these qualities. Frank Brangwyn is another artist who practices the art of wood en graving with great power and lmag Inatlon, although he is not represented In the present collection with woodcuts, but with a. group of four etchings.

Brangwyn, true to his large, lusty way of looking at things, is not happy with the conventional small-sized plate: he etches In the grand manner, and must use a plate which In a gallery flliea wnn Binan, sometimes tiny ones, appears posi tively colossal in size. Despite me large scale on which he works the line Is well proportioned. Everything Brangwyn does Is quick with life and exuberant vitality; nis pic tures and block and whites have a gigantic swing and bigness or con- rentlon that is almost staggering He defies most of the etching traditions, but the Imaginative energy of his design, his vigorous line and i massive emphasis of light and shade make his work Immediately arresting and stirring. He is perhaps best known to us over here through his paintings and war posters. His range of subjects Is exceedingly wide and Includes the romance of shipping and of building; In fsct, anything that stresses the energies of man.

Portrait and Imaginative Etching. Portrait etchings are quite the thing In England, and we find a considerable collection of portrait-heads on view, for the most part of artists. Here Is a portrait of Frank Brangwyn, etched by K. Lumsden. who also etches Augustus John and James M' Uey.

Francis Dodd exhibit a portrait of George Clausen, the well-known etcher of pastoral scenes, who Is also represented in Ihe exhibition. The IriiHulnntlve story-telling ele ment in British art, the Inherllance of the Arthurian cycle, riicn, 11-lanla and all the folk-lore which Is woven into the fabric of English poetrv, must always make Itself felt In any representative group of Brit-lsh pictures, be they black and whits or oils. Charles Hlms, whose much-discussed portrait of King George and Inter the fracas resulting from the unauthorised handing of his por-trslt Astor Being Introduced Into th! House of Commons" put linn on the artistic map for most of us over here. While being an accomplished portrait painter, he is at heart a painter of delicate lmngliia-tive themes such as the "Over the Hills and Far Away." included In his group of four etchings. Bruce Crane EXHIBITION Marrti tj April tl MILCH Galleries 108 West 57th Mew York CW.KRAUSHAAR ART GALLERIES 6R0 Fifth New York Exhibition of Plana and Photograph of Work in Laadicipt Architecture Charles Downing: Lay I'stJJ Hank tilt lii.7Li.WU a 1 HI taste of presentation.

Mr. Lay writes a foreword which serves to explain his method of pre- a ntflflnn 'Thft Ql'Vlttllrtt Y. I .1 --v. anu tilt! ItUIUBCHJiq architect alike find it hard to give v-'cv ui iiini wurK 10 people who cannot be brought before it. Plans nnd -mA.

i. wnicn are -in niRfelvaa tinthlnre tiu uncertain ffuide in visualizing the object. Can ne taken Of OllltA i naiufiiB sua some beautiful gardens do not lend themselves to photography. It seems necessary, therefore, to show both nlana nnd 1. mil to asK the Dublin tn th.

iey may have In themselves, using th th uo a means ior conceiwig reality, this the plan will Or mnat be expwiencea and the photographs to the inex- Derienfel tt v.i i i m8 vitality hlch the plan owes to Its organi-atlon can bo carried over to tho hotographs and help to vitalize hem the concepttso of the whole ill be more satisfactory." Flower Still-Lifes by -Isabel Whitney Flower stlll-lifes, it would seem. have become the especial province of women painters, but as opposed tr the old-fashioned water-color flower still-llfe of the lady artist of the last century, which stressed fidelity to fact beyond anything else, they are now painted with an eye to their design and decorative possibilities. But Isabel flower stlll-llfes fit in neither of these cate gories. Careful to preserve a sense of reality with a sense of decoration, ahe has evolved- a style distinctive. Her most recent water colors ore on view at the Alnslie Galleries Where they make a fragrant anl distinguished collection.

Miss Whitney paints her fringed gentians, tulips, petunias and asters on a back ground of white paper; that Is he leaves her paper bare when It comet to the background, does not find It necessary to envelop them In surrounding atmosphere in order to still preserve for us their essential quality and character. The effect decoratlce, realistic without being In the ltnst bit mannered or generalized. While her unusual use of her material neressarlly sets her apart from other palntors ot flower stlll-lifes. It Is a certain delicate sophistication of taste evidenced In her combinations of materials which distinguishes her art. All the old-fnshioned ornaments which adorned the mantelpiece be fore tho interior decorator decreed no ornaments are brought Into use.

She paints tall, slender flowers In a tall tcrred Venetian fancy, or masses of whi lilacs in a Dresden china cornucopia, or burning busli in a red glass vase. Her sophistication never tends to the bizarre, good taste Is arbiter rather than the spec tacular. Miss Whitney' skill aa a designer is also shown in the three frescoes which she include In her exhibition. Her spontaneous Immediate method of laying on tho paint is especially suited to an art In which each stroke Is irrevocable. Miss Whit ney' exhibition, coming a It does In Garden Week, court a comparison with real flowers and makes one more than ever aware of her gift of preserving in true esthetic terms th fraganca and loveliness pt transitory things.

EXHIBITION Moderate Priced Paintings by Young Americans Dudensing Galleries 45 Wtl 44th New York MARIS KTKRMF.R and ntAMl K. M. BEUX Proton an Exhibition 1 of faintinf by LEON KROLL at the Callerio of FRANK K. M. REHN 693 5th bat.

54 55 Sts. The SOCIETE ANONYME INC. Present th Eminent Modernist Heinrich Campendonk Lt it only exhibition thi caon Through the Courtesy of The Daniel Gallery 600 Madison Avenue) NEW YORK Marc A 23 to April 4 Catherine S. DreierU Wasters Art onef The New Era Aa Introduction to Modern Art The mnet Imtmrunt ban for A inert-rwis on this sunte. time far publish It treale ot Modem Art, intema-tlunellr.

frloe be had at SocieU-Aaonyme, Inc. r.o. Wsrren' Prodm-le Co, ai rui st. or Brentaaa'a Mr. Meyer ha3 been successful is in his decorative landscapes.

His two panels, "Spring" and "Winter," are flat decorations in blond tones. They nave a real mural Quality and a happy combination of fidelity to fact and flat design. ART CALENDAR BROOKLYN. BROOKLYN MUSEUM Print Depart ment, modern Brltlih prints. BROOKLYN SOCIETY OP MINIATURE PAINTERS Seventh annual, exhibition Hotel Boacert.

NEIGHBORHOOD CLUB Portraits by Stanlilaw Rembsky. OVINOTON GALLERY Etchings and water colore by the late Ceorge Varian, to March 10. MANHATTAN. AINSLIB GALLERIES Portraits and lsnecapes hy Sheldon Penoyer. Water colore by Isabel Whitney.

ANDERSON GALLERIES Paintings by Henri Burkliara. Alfred Btlfflltz presents eeven Americana; Arthur Dove. Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keete. Alfred Btlegllts. ART CENTER Palntlnge by Marlon El- drift and Carolyn Maae.

Paintings by Helen Ilandall, AnTS AND CRAFTS 7 West Mth St Guild of Photographer. ARCHITECTURAL) LEAGUB OF NEW YORK Paintings by Jacques Carlu. BABCOC1C GALLERIES Paintings by Iicroert' Meyer. BOURGEOIS GALLERY Paintings by Knill Branchard, March 2T to April 11. DRUMMER GALLERIES Works by Michel Klknlne.

BUTLER GALLERIES Old shipping and naval prints. CITT CLUB OF NEW YORK Paintings by Jane Peterson. CORONA MUNDI Paintings by Gauguin. DANIELS OAI.LEHIES Palntlnge fcv llelnrleh CamnenSonk. DUDF.N8ING GALLERIES Paintings seven Americans.

DURAND-RUEL Paintings by Carl Anderson. DUVERN UALLBRIES-Fortralts by Har- pnston Mann. EDUCATIONAL ALLIANCE w. 17 East Broadway. Exhibition by students and Instructors.

EHRICIC GALLERIES Flower paintings by Frank Galsworthy, FAKIRS CLUB Etchings and water colore by Eugene Fltsh and Bradford A. Shworlt. FEARIN GALLERIES French masters of the Nineteenth Century. FERAROIL GALLERIES Exhibition under auspices of tbs Garden Club of America, GRAND CENTRAL GALLERIES Paint ings by Wayman Adams. Paintings by Walter reck.

Mural decorations by Ernest Pelxetto. Porcelain statuette by Mr George Oakley Totten. HARLOW GALLERY Paintings of ships and the sea by C. R. Patterson.

HOLT OALLERY Oil and tempera paint Inge by Jess Jacques Paster. KEFPEL Etchings br Charles Wood bury. KNOEDLER GALLERIES Etchings by August Lepere. KNOEDLER'S Gardens and thatched cot tag by Mary Helen Carlisle. XRAUHHA AR GALLERIES Designs for landscape architecture by Charles Downing Lay.

ADELAIDE LAWSON 114 West 4th St. Paintings. MACBETH GALLERIES Painting by Edward W. Hedneld. MACI Herald Rousre, Group exhibition paatele and drawings by young American artist.

METROPOLITAN MUSEUM New American wing, drawings given and lent by Albert Gallatin. MILCH GALLERIES Painting by Bruce ('ran. Water colors by Hayley Lever. MONTROSS OjAAERIES Paintings by Horatio Walker. Pottery by Var num Poor.

Painting by Frank London NATIONAL ART CLt'B-Engllsh post era. Annual aahibltiea of Book Plat Society. NEWMAN PRINT ROOMS Painting by Ben Hen. NEW YOHK PUBLIC LIBRARY Books and picture relating to work of European merfallate. Prints by Americans of European cnee.

NEW GALLIC HY All American Water Color Show. 1 PEN AND BRUSH CLUB Palntlnge by Dorothy Randolph Hyerd. Etchlnga by Margery Ryereon. RALSTON GALLERIES Fainting by Ida May nam Curtis. REHN GALLEHIE Palsttng by Leon Kroii.

REINHARDT GALLERIES Recent sculp lure by Seraphlp Seudblnla and Michel Deublnskr. Also model Cor garden and park SALMAGUNDI CLUB Water colera and pastels by members, to March II. SALMAHUNDI CLUB Annual members' exhibition. COTT AND FOWLES Sculpture by Ell Nadelmas. SCULPTOR OALLERY Folk art and craft.

SELIGMAN OALLRME Portrait by dm da Costa. IIIIRRMAN STUDIO 21 East llih St. Paintings Marjorla Ryereim. SOCIETY CRHAMIO ARTS Annual enhlbltlon Society of Illustrators. ARNOLD SEI.IOMAN, RET CO.

('laud Anlt collection of Persian mints ture. WALDORF-A STOMA -Ninth annual ai. hlbltlon Independent Artlete. W1LDENSTKIN GALLERIES Decorative painting French llth Century. Palntlnge by Tanlouee.Lautre.

WHITNEY STUDIO CLUB Eahlbltlon and al of drawings, print. WHITNEY STUDIO GALLERY Exhibition ef Greek Art. WE1IY Drawings by Honrl CONTEMPORARY BRITISH PRINTS AT BROOKLYN MUSEUM i 5' "riA ill''-1 'Anpfcw lit U.if rill 'If i Iv-ft' yTi III il i ItySnA'- vi iff u-k'V' "COLUMBINE A By Ethel SA TOILETTE" Gubain. "SPANISH DANCERS" By Laura Knight..