The Brooklyn Daily Eagle from Brooklyn, New York on February 11, 1934 · Page 32
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The Brooklyn Daily Eagle from Brooklyn, New York · Page 32

Brooklyn, New York
Issue Date:
Sunday, February 11, 1934
Page 32
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BROOKLYN DAILY FAGT7K, NTCW YORK, SUNDAY, FEBRUARY 11. 1934 Hartford's New Museum Brings Years Quota Up to Five Picasso Seen at Full Length 14 BiC V r- The Avery Memoria B HELEN APPLETON READ Hartford's New Museum Makes Skillful Itse of f'uoo hooalistic Principles Picasso l.aon Exhibition Feature of Opening JUDGING from the activities taking place in the art world arm especially that portion of It which has 10 do wiih museums, it would seem as if hard times were deterrent 10 the furtherance of cultural developments. Five new museums have opend during the last year the Worcester. Toledo. Springfield and Kansas Museums, and the Avery Memorial at Hartford, which opened last Tuesday. Each museum has celebrated its opening with special loan exhibitions and attendant festivities, that have Drought out-of- town are lovers to participate in the inaugural celebrations. Each of these event-? and I speak mote especiallv of the New England museums, since , 1 did not attend the Toledo and Kansas openings has impressed, the vis- i lior with the growth ano scope of cultural interests in this country and , lso with the fact that the cultural map of the U. S. A. no longer may be charted as having two or three art centers which feed outlying province, but thai each former province is quite as much in the movement, quite as aware ot tienas ano revaiua- tions as have been such art centers s New York and Chicago. All chi? is very largely due to the fact that the new museums ! en,er discussion or Plcassos , . , I Place In the development of Amen- have been fortuna e in achieving! , ican ait or proffer anv revaluation for their new directors young men j 0 nis contribution as the result of who are not only, well trained in ! seeing him in the environment of the technique of museum direction ' a New England museum. It suffice1-hut who are also as fearful of be- 10 av '". "he exhibition gives a stituies up-to-fhe-minuie i (uniting as their predecessors were afraid of being regarded as anything but conservative. The golden mean, however, lies between the two points of view. Much of the modernity of museum technique characteristic of the management of the new museums is also attributable to the fact that the new directors are less encumbered with the dead weight of tradition because in moving into new buildings it is possible to shed so much of the past that was hampering to new growth. The Avery Memorial, which receiver its name from the Samuel P. Avery bequest which made possible the erecting of the new museum, is probably the most modern solution of museum architecture and ar...... j e i.ti,:. rangement that has been achieved so far in this country. The result, was arrived at by the collaboration j of the director. Mr. Everet Austin visitor leave? it having added con- ! cnief executive has ever given il. Jr.. with the architects. Morris and ' siderafoly to his store of archilec- i ""PP01'1 to anv "rl exhibition. O'Connor. Mr. Austin studied mu- wral itnowled&e for example the Tlle se'601'0" of works for the ex-setim installation in Germany and irrnrtlictinn muk ih iviir.'aMr.i 1 hioition is in the hands of a dis- the new museum gives evidence of his assimilation and adaptation of some of the solutions of museum arrangement which his trip discovered. Although needless to say, every museum has its own special problem to solve and cannot take over The solutions which other mu-leums have made of their problems. In the case of the Avery Memo- rlaf the effort has been directed in arriving at an arrangement in which the collections are the museum's raison d'etre, and not the museum building itself. Lighting, space, backgrounds, etc.. are the elements with which he has achieved Ms distinguished result. In following the functionalists idea, Mr. Austin has not, however, evolved a too starkly functionalistic machine. Portunateiv. he possesses a lively imagination, fine taste and sense of I showmanship which makes the result exciting despite its strict observance of functional principles. For examole. the main courtyard ! severely plain, the architectural interest is achieved by cantilevered high-walled balconies of white cement which act as corridors tor exhibits and receive their light from lhe skylighted glass ceiling. The effect of starknese is relieved by placing a lovely baroque fountain group. "Venus Attended by Nymph and Satyr." in the center of the courtyard and by painting the wall of the court pale blue. To be coldly critical the piopor-tlons of the balconies leave something to be desired and the material might have been more elegant and still remained Junctional, but these defects are unimportant beside the fact that Mr. Austin has preferred to center His attention on works of art rather than on lavish i architectural accessories. This contrasting of the volup- ( t.uous 8nd elaborate style of the j Italian and Central European I Baroque with the stark simplicity t of functionalism might be said to be the left motif of lhe museum's arrangement and extends even to I the collections. For example, the : Averv Memorial is perhaps unique , among American museums in having an unusually fine collection of baroque paintings. They have been hung in a gallery whose walls ' re covered with grey white bro- ! caded damask. The result is as ef- 1 fee five a.s a background as It is imagination stirring in Its suggestion of palaces in Venice. Vienna or Munich. In contrast is the loan collection of Picasso's shown against white walls and making use of some of the latest devices in screens and nartitions which can be' . turned about on shining chromium plate ' a ses. N Pir.asno at Full l.euxth i i The Picasso exhibition is me tour , de force of tiie opening events. For the first time in this countrv it ' has been made possible to the , development of the inventor of j Cubism from his Impression)- j tic period to bis latest Sur Realist phase. The last complete story was told in Paris two years ago at the Georges Petit Gallery, which same exhibition was l8ter shown in Zurich. But no American museum 1 or dealer has had the opportunity of assembling a group which could j be satd to be in any way represen- j tative until Mr. Austin achieved . the one now on view at the Avery I Memorial. There are about 77 j oaintings and a large collection of drawings, guaches and water colors. Manv of the pictures come from the collection of Mousier Paul Rosenberg of Paris, but it is sur- ; prising to discover how many of : ihe celebrated examples of the dif- ; Orent periods are owned in this : fountiy. Some of Uhe collectors and museums who have lent pictures to ihe exhibition are Mr. and Mrs ivm Lewishohn. Mrs. Averell Hani-man. Dr. and Mrs. Harry Bakwin. S-.fphen Clarke, the Smith College i Uuseum of Ai lb WOiceate Mu-1 actina as an incentive rather than j,,,,, ald lhe Atonghi An Gallery Buffalo. I shall not ue this occasion w. moi c eweewvr iui vcy in ins nw-wui plishmenus than did the one in Paris, because the examples have been chosen with more care and because rhere are not so many of them. Admirers of lhe versatile I Spaniard are therefore advised by all means lo make a visit to Hartford. As an introduction to the Picasso show a very choice group of 19t h centurv French paintings has been assembled and is shown in the adjoining gallery. Another feature of I the opening is an architectural ex- hioition arranged by Henry Russel Hitchcock In which he traces the development of museum architecture from the first inception of the idea through some of Its most, ef-; fecrive stages. Mr. Hitchcock' exhibition is. as aiwavs. full of information and the deductions m the reason for ,hl ! growth of museum architecture: "The museum as an architectural monument is a product of the age of Romanticism. The type was a creation of the period between 1750 and 1850. In the 19lh century the new museums and libraries were given the prominent place and the monumental treatment hitherto re- served for churches and palaces in European ciues. Art museums grew up with neo-classicism andthe greal : Academy of Design, and Holger early examples were predominantly ca hill, who is director of the ex-Greek without and Roman within, hibition. The artists who will be I Only in the 40s did the rising Me- represented in this exhibition have ( dieva! Revival induce the use of ' been selected by the committee I Romanesque forms as at the Neue from lists of artists who are Identi-; Pinakoteck in Munich or Gothic , fied wiih the New York art world forms as in the WadSKorth Athen- eum in Hartford. ' The'Averv Me- morial is a branch museum of the Wadswortn Atheneum which continues to some of the collection.' and is the first aud original' art museum in Hartfoia. Mr. Hitchcock closes his introduction with the following thoughts which relate his exhibition to the idea incorporated in the Avery Memorial. "In general the later 18th century museums aimed at providing real works of art with imitated traditional settings. This arthaeologicai treatment nas indeed lasled down to our own days. The early 20th century substituted characterless settings in which the objects were isolated as in a laboratory. Modern architecture aims again to create, as did the early museums, backgrounds of intrinsic distinction harmonious with the objects exhibiied and vet wholly in the style of our own day. The galleries of the new Avery Memorial of the Wadsworth Atheneum provide, with eli the functional complexity of the later museums, interior architecture worthy of comparison with the finest of a century ago. ' 1. 41 KITZ mtmmmmimmmm i." ' .i.vl''.!W'i.'''i'W...,iiwlr.vUunm.wj,..i,.!1 ,, wmi , ',"'-' t w ', ' ' V 5Sk "- L , ;- Zl'' II W i 0k I I ' , -V f " K - - : if a - 'team u Ihe MefsvpfWifuti Opru t.untftaiir apjeurittg in 'Trimuti unit tsuldt' lawornit night,' j U HEW IS MUSEUMS 4D UAI.I.EKIES ' I hre Hoat in Jfrrtter,' br t.harleg fttirrhfrttd. thttwn nl Hehtt fVufferte (above). f.o Frtttw a f.' bum I ail.' Iitl hy tr. anii Hrj. V illinm 4ifr)l Htirrimnn. ihttwit in Itmil rion of 9' etlfHHtrlh Alhrnttiln (right). . . .. Factions Levelled At Municipal Show Breaking one of the ma jor precedents of the art world, the work of American academicians and modernists will hang side by side in the First Municipal An Exhibition which will open in the Forum of Rockefeller Center on Feb. 27. Sponsored by Mayor F. H. L.a-Guardia. this event will also mark the first time in its history that the City of New York, through its ""guiMieu au wiue.y leuiweum- tive committee which includes Mrs. Juiiana R. Force, director of the Whitney Museum of American Art; Alfred H. Barr Jr.. director of the Museum of Modern Art: William H. Fox, director of the Brooklyn Museum: Herbert E. Winlock. director of the Metropolitan Museum of Art: Leon Kroll. chairman of the American Society of Painters, sculptors and 'Gravers: Harry W watrous. Diesident of lhe National and who have received recognition from ma lor museums through purchase or exhibition of their work. All proceeds from the sale of pic-lures and sculptures will go directly to the artists. Each painter is asked to send one oil not more than six feel in width, one water color or pastel and one drawing or print: water color artists, two water colors and one drawing or print; sculptors two sculptures one large i .... and one small sculpture and one ; drawing or print; print makers i rhe 'de "as been extended, how-four prim.". i evei- tm;',":le a few black and The names of over 800 artists whiles, drawings and wash draw-have been submitted by members of ; It is always interesting to see the committee, and dealers, end it what the artist will evolve when he is expected that about 500 artists will be represented in the show, and i that there will be over 1.200 individual pieces included in the exhibition. Bntohi vn Kxh ihili The Brooklyn Painters' and Sculptors' current exhibition at the Artist!" Gallerv in the Towers Hotel uses an unusual idea for the basis of selection. The picture? shewn are decorative compositions executed in not more than three colors. MEIA.HIOK AstA'fp 'ni ' f - is limited to a specific problem and the members of the Painters and Sculptors have proved themselves, in the present instance, to be no exceptions. Mr. Scheidaker shows a group of his still-life compositions in water color, in which a color scheme, al- I most monochromatic in tone, has I not interfered with Ills ebilily to suggest suotie gradations of tone or lessoned the fluency and vigor of his style. Mr. William Mathews uses oil for . his medium and has evolved charming arrangements, among which a Mower still life done in green and white is perhaps the most successful, and Robert M. Ry- aiiu tuubiiuuicn an eueciive ueco- raiive ngure composition carried 1 out in tones of pale green and yel- I low. Members represented with ! ! Drawings rnat call or special mention are Harold Lund. Will Quinlan ' and W. E. Spader. Nicalos Macsoud is holding a t uue-inan show in the adjoining gal-j lerv which represents him as an I artist with a, considerably mor e di- versified point of view Ihan many . or his admirers might have sup-' posed. That is. judging from the exhibitions which have heretofore represented him. In other words. Mr. Macsoud is no longer concentrating on his well-known Oriental 'themes. . Instead .of Arabs flying from sand storms and Moslems at prayer or studies of light aud . shadow on the deser t. Mr. Macsoud is painting subject derived from moie recent and immediate experience. He is doing a series of Brooklyn subiect views of roof tops in Wimer and also exhibits a series of marines which are records of a trip to Bermuda. Brooklyn roof tops are not as bar-ren a theme as might be expected in contrast to the romance of the desert. Mr. Macsoud finds that red , brick houses veiled with snow offer i an opportunity for using his favorire pale rose tones and the concentration on the exact rendering of the geometries of city streets aud roof lops in perspective gives his work a new precision that was sometimes absent in the more emo tional and picturesque rendering of his Oriental subjects.-The Bermuda marines are notable for a new rich- ness and depth of color. : Charles Henry Doers m of Co- ; lumbia University will give an or- ! San recital this afternoo nat 2:30 o'clock at the Brooklyn Institute of , Arts and Sciences preceding the jGrahpm Foundation address, by Le-lUod Stow. 2 "Sfiw ff. Art Calendar AMERICAN GROUP. Barbi'.on-Pla?.a Hotel. 58th SC.. and fith Ave. Third annual guest exhibition. ARGENT GALLERIES. W. 57th St. Flower paintings by Hen- ry E. Simmons, also paintings by , Marion Boyd Allen and Elisabeth j Salionstall. I ARi'ISTS J GALLERY, Towers j Hotel. Brooklyn-Paintings by Nich-' olas Macsoud; decorative paintings A V BRILL HOUSE. 142 E. 5:id St. Sculptures bv Wheeler Williams , and garden accessories. JOHN BECKER GALLERY. .NcJ : 520 Madison Ave. Paintings by: American artists. j BROOKLYN MUSEUM. Eastern I Parkway Paintings and sculptures , J " - BRUMMER GALLERY, 53 E. S'th St. Paiutiiigs by Leon Hai ti. CONTEMPORARY ARTS. 41 W. 54lh St. Exhibition Pellew. untiW Feb. 17 of John C.l S"., fi ?h' I.EKIES. 11-11 E. 57lh St. Paint- ings by Robert Philllpp. DELPHIC STUDIOS. 9 E. 57th St. Sculptures by Adam Sanders. DOWN TOWN GALLERY, 113 W. 13t,h St. Paintings by Alexander Brook. Sculptures by Reubin Nakian. DURAND RU EL. INC.. 12 E. 57lh St. Greal French masters of the nineteenth century. EHRICH GALLERIES. 36 E. 57lh St. Water colors by Baroizon. EIGHTH STREET GALLERY 81 W. 8th St. Paintings by A. F. Levi n son GRANT STUDIOS. 114 Rem.sen St. Portraits of prints. Brooklyn artists, f FERARG1L GALLERIES. 63 E. 571 h St Prints by Olin Dows. Drawing." by William I. Rogers. FIFTEEN GALLERY, 37 W. 57th St. Paintings by Herbert Tschiirriy. GRAND CENTRAL ART GAL- LERIES, 15 Vanderbilt Ave. Races I of Man. by . Malvina ' Hoffman. ; American Society of Miniatui' Painters, to Feb. 17. . HARLOW. MCDONALD &. CO..' 667 5th Ave. Etchings and draw- ings by Marguerite Kirmse M ARTE HARRIMAN GALLERY, S3 E, 57ih St. Paintings by Walt Kuhil. Kl.EEMAN THORMAN G A L- I.ERIES, 38 E. 57th St. Paintings bv Taubes. JULIAN LEVY GALLERY. 69i I E. 64th StPortraits by Fltz-wer-Madison Ave.-Sculpture bv Helenejnel- 10 Feb. 8. Sardeau. MACBETH GALLERY, 15 E. 57th : St. - Paintings bj Barnard Lin loll. League of Composers To Give Novelties The League of Composers will give the second of Its weekly concerts next Sunday at the French Institute. 22 B. 60th St. New works by American and foreign composers will be performed by Jacques Gordon, Lee Pattlson, Virgil Thompson. Theodate Johnson, Harrison Potter, Rebecca Davidson - and Alexander Stetnerl. At the Grant Studio The Grant Studios are showing a suiall group of portraits in the main gallery and a collection of prints in the new downstairs print room. Robert R viand, who seems to figure conspicuously in current Brooklyn exhibitions, shows a charming portrait of a woman in a flowered dress; Agnes Richmond shows one of her sincere and able portraits of a woman posed against an outdoor background; Samuel Rolhbart exhorts a portrait entitled "The Artist's Wife." and Ezra Bowen a striking portrait or a striking young woman in which he registers his full appreciation of his model's quality. PIERRE MATHESE. 51 E. 57th St. Paintings by Henri Matissi. THE METROPOLITAN MUSEUM OF ART, 5th Ave. and 82d St. Lace shawls of the nineteenth cen tUl.y l0 Api.n , Blacque collection of 're(ttiles through June 3. Loan collection of New York Stale Fur- niture, Feb. 6-April 29. urmfwun ntt i mat ma v . Ave. Paintings by Miron Sokoie. MU.CH GALLERIES, 108 W. 57th 3l G0U p snow, . . ' . t '" MORTON GALLERIES, 130 W. 57th St. Paintings. MUSEUM OF MODERN ART. II w 53d St. International exhibi tion of theater art, to Feb. 28. MUSEUM OF THE CITY OF ' NEW YORK. 5th Ave. and 103d St.! 'Vanishing New York.' NATIONAL ART'S CLUB. 15 1 riraniaiKu Park Uomm-ill hihi. "on of the work of a group of fo. - ! mer members. NEW SCHOOL I RESEARCH, 88 W FOR SOCIAL 12th St. Prints i by Clara Mahl. NEWHOUSE GALLERIES. 578 , Madison Ave.-Second annual ex-I hibition of American genre paint-1 ings. NEWTON GALLERIES. 4 E. 56th St. Sculpture by Breading Furst; , waler colors by John Hamilton. NEW YORK PUBLIC LIBRARY, ; 478 5th Ave. Drawings for prints ; and the prints themselves. Etchings I and day prints by C. A. Piatt; prints I by Pop Hart. RAYMOND Sl RAYMOND. 40 E. 4Brh St. Color facsimiles of land scape painting. FRANK. K. M. REHN. 683 5th Ave. Paintings by Charles Burch-field. MARIE STERNER, 8 E. 57th SI. Paintings by Annot. UPSTAIRS GALLERY. 28 E. 56th St Onenina aroriD of work In all niedia priced under 10. VALENTINE GALLERY OF MODERN ART 69 E. 57th St. permanent exhibition of modern ..nins WHITNEY MUSEUM OK'AMER ICAN ART. 10 W. 8th St. txnim-tlon of recent acquisitions and self-portraits by contemporary America ns. ' WU.DENSTEIN St CO.. INC.. 10 WEYHE GALLERY. 104 l.exing ton Ave. Sculptur by Dorothea Greeabaum, the Galleries n News In his exhibition at the Fifteen Gallerv, Mr. Herbert Tschudy gives fresh evidence of his ability to ban-die pure wash and to make it serve whatever purpose the subject demands without getting out of hand and existing for itself as an exercise in pure virtuosity. Judging from the fluency with which Mr. Tschudy manipulates the medium, I imagine, however, that it would be an easy matter lo become a virtuoso. Fortunately his deep sincerity and a belief that the artist's mission is to interpret nature prevent any such catastrophe. The present collection comprises, for the most part, raier colors painted In New Mexico and California and the Grand Canyon. Again the atmospheric effects of sun and clouds on mesas, desert and mountain are MS. Tschudy's favorite motives. The combination is inexhaustible and provides him with themes which, however alike they may be fundamentally, are never the same and never monotonous. As a proof of his versatility Mr. Tschudy also exhibit a portrait of a Western stage driver, a swift but surely painted characterization and a, pastel of night scene on Brook lyn Heights in wmcn me variety of colored lights and their reflections are used so as to make an almost abstract pattern of color and lig'ht against the dark ground of the night sky. Paintings and Guaches by Annul. a German artist recently arrived in this country and a grandnlece of the celebrated German artist, Adolph Menzel, are now on view at the Marie Sterner Galleries. Since the average American's knowledge of contemporary srman art is almost entirely confined to those examples chosen to represent Germany in the Carnegie Internationals and in the German exhibition Shown at the Modern Museum, both of which vehicles tend to duplicate each other, they have, therefore, had very little knowledge of the variety of personalities which. In reality, composed contemporary German art. Annot's work has never been- shown In Hhis country before in spite of the fact that she is one of the best known .women painters in Berlin and one of the two women members of the Berliner Secession. Although she studied in Paris under LHote, her quality is essentially Teutonic, n her portraits, for example, there is a suggestion of tlhe powerful realism that tends to overstatement, so characteristic of the modern German school, but which, in her case, is tcuntenbalanced by a strong decorative quality and distinguished color sense. v Many of the subjects of the portraits shown are German women well known in professional and artistic circles. Annol claims that tlhe modern German woman is characterized by a new vitality and joy in responsibility which quality she cenveys In her portraits, despite the fact that they represent widely dis similar type. They have, as she describes it. an ' Ethos which is pe culiar to them." Aflnot. therefore, as the use of the word "Ethos" sug gests, introduces the metaphysical touch to her work which again is so essentially! Teutonic quality. Paint ing is never merely painting to the German. It is Invariably an ex pression of a philosophy, a WeltAti- shauung. And this despite Annot's very evident expert enjoyment in painting for paintings sake. Margaret Fitishugh Browne, noted American portrait pa iter, has just returned from Detroit where she completed a. portrait of Henry Ford whtch is to be permanently installed at the Massachusetts Institute of Technology, Boston. Mr. Ford gave Miss Browne six sittings and showed interest in her work, although he has frequently been quoted as saying Chat art seemed like nothing to him. A museum official, who Is well acquainted with Mr. Ford, saw the canvas yesterday where it is now hanging in the Grand Central Art Galleries. 15 Vanderbilt Ave., and said it was an excellent likeness of Mr. Ford. The portrait, will remain on view to the public at the Grand Central ! Art Galleries during the month of I February. An interesting group of Barbizon and other French paintings appears In catalogue of American, British and Continental pictures ranging flTMTl th 17t.h HentlirV TO COntftm- porary work, whtch is on exhibition at the American Art . Association Anderson Galleries, (N. Y. C, until their disposal at unrestricted public sale the evening of Feb. 15. These paintings are from the collection of the late Hiram Burling- ham of New York City, sold by i order of the executors. The Fifth j Avenue Bank of New York and r Luke Vncent lockwood. the prop- 1 erty of the galleries of the T. B. Walker Foundation, Minneapolis. Minn., and of a private New York City collector, sold by their order, j with some additions. A charming signed Corot, "A Balmy Afternoon." showing two men In a skiff at the I edge of a stream, was purchased from the artist for the collection of Baroness Kaula. Paris, and is one of the Walker pictures. Another river landscape, and bearing that title, is by Daublgny. signed and dated " '74". Under a gray sky filled with wind-blown clouds, cattle are seen grazing upon the green slope of the farther bank of a stream. There are two signed works by Ziem, his ,rLagoons of Venice" and "On the Coast of Morocco." the latter In the Walker group. A full-length nude by Henner shows . nymph standing before screen of tree at the edge of a pool. It is on a cradled panel, seventeen inches high and eleven inches wide, and comes from the collection of I 3. Gillespie. Pittsburgh, and the John Levy Galleries. An at tractive Diaz de la Pen. "Diana I and Cupid." the property of a pri-Ivate New York City collector, shows the Goddess as a graceful standing figure in rffi-aneries of rose and white, attended by three of her nymph and with Cupid at her and Comments right. An interesting "Plaza o Tore" by Gerome come from th collection of Elbridge T. Gerry, dis persed at the American Art Asso ciation in 1928, It a brilliant work with the toreadors in their gorgeous costumes attentively watching the bull, which has paused and stands immobile upon his en trance into the ring. The picadors on their horses are seen in th background near the barrier behind which sit the massed spectators. The 100 Levantla White Board- man Priae and medal was swarded to Miss Mabel R. Welch for her minature portrait of Wlliam J. Baer at tne opening or tne 33tn annual exhibition of the American Society of Minature Painters. The jury consisted of Margaret Footo Hawley, Robert Brackman. and Sidney Dickinson. The exhibition is being held at the Grand Central Art Galleries. 15 Vanderbilt Ave.. New York City, gn will be continued through to Feb. 17. One entire Gallery 1 devoted to th annual exhibition of this national society of minature painters which include the works of Grace fC. Murray. Betsy Flagg Melchers, Ruth McLean, Maria Judson Stream, Martha B. Willson Day, :Bdlth Sawyer. Elsie Dodge Pattee, Cornelia s. Hildebrandt, Saran E. Cowan. Alma H. Bliss, William J. Baer. Malthe M. Hasserliis, Clara Louise Bell, Artemis Tavshanjian. Eul&bie Dlx. Dorothy Brugger and many other prom im rent miniature artists. fourteen artists will be represented in an exhibition of decorative painting to be held at th Decorator Club Gallery in tha Squibb Building from Feb. 8 through Feb. 2J. Decorative paintings in both oil and water color, painted wail hangings.' color sketches of murals, palmed glass panels and a. fe-w decorative scenes will be shown. The artists exhibiting: are Lorena F. Atwood, Charles Baskervllle Jr., Dunbar Beck, Anna Braune. Walter Kumme. Kenneth Bradley Loomia. Emma Fordyce Macrae. Howard Patterson, Homer F. Pfeiffer, Hug-h Tyler, Carmeia Valva, Ruth M. Waldo. Margaret Greene Walling-ford and Isabel L. Whitney. A year ago Nakian achieved great success with his exhibition of portrait heads, which Included Pod nart, now owned by the Museum of Modern Art. On Feb. 13 he will put on view hLi full length figure of the popular national hero. Bab Ruth. This sculpture of heroie ize eight feet in height show the baseball player in action. The exhibition will be held at the Down, town Gallery, 113 W. 13th St.. New York. Today the .artists' interest I largely centered in the American scene. But one very important phase of American contemporary life athletics does not receive the , attention of the American artist I that it relatively deserves rnnHni M nack into the past, we find that some of the finest surviving worku were inspired by the popular sports I ot tne day. The discobolus. th ueipnie Charioteer and other classical antiques, show that th artists of those days were inspired by their athletes. wnue a few painters of recent years. George Bellows as an ex ample, have caught the spirit of American sport, sculptors have don little about expressing the speed. the punch and the native spirit in this field the sport's practiced her today. Reuben Nakian, on the other hand, has taken as his model contemporary popular idol, and ex pressed in sculptural form the driv and the power of the national gam oi baseball. He has embodied In his heroic figure of Babe Ruth. nt only the physical contours of th man. but also the very essence of the game. And, above all, he ha combined a mass appeal with th oesi, elements in the medium of sculpture. Power and grace, solidity ana movement, detail and archi tectural simplicity, form and spirit. are all incorporated In this sculp ture. EXHIBITION : PAINTINGS Great FRENCH MASTERS of the i NINETEENTH CENTURY organized by PAUL ROSENBERG & DURAND-RUEL February 12 to March 10 For the Benefit of THE CHILDREN'S AID SOCIETY & the FRENCH HOSPITAL of N.Y. , Durand-Rucl Galleries 12 tmtt 57 fh Sr. N.w Y,k Ov MiH-yMr Class in 4rt LIFE DRAWING lnr! ,. fiqu 4rawini, including aonxtrMetit Mlfllre arawlnt, Um. rnTthm, '. portiBn. balance, llrnt in hrfir. STILL LIFE, B ,., ,,,,. In ractlee an thr.T culor. relu ttontnln r Itrht an una. jhm In nalar, rendUon f tarlatan. Hill m KftiH0 Stanford Rvroa Stoa, Usrructor DEPARTMENTOF EDUCATION THE T. W. C. A. J Tan. A.... tlriy. UTI.IHH ANNUAL EXHIBITION The American Society of Miniature Painters TOronfb Fcftt-narv Grand Central Art Galler.M ?!, Vt.4HIH Ate., . T.

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