The Brooklyn Daily Eagle from Brooklyn, New York • Page 30

BROOKLYN DAILY EAGLE, NEW YORK, SUNDAY, APRIL 22, 1934 Brooklyn Museum Pioneer for Recognition of Modern Spirit The Independents In the News and William Henry Fox 0. VIEW THE GALLERIES Comments By HELEN APPLETON READ 14 B-C Retirement of Dr. Fo Offers Opportunity for Analyzing Ideals Which Directed Museum's Growth Under His Direction sonal and somewhat confused technique which seems at first to be an obstacle in the expression of his idea Is after closer study seen to be an Inevitable and integral part of his conception. Mr. Wargny paints moods of nature; there is seldom any effort at realism.

His confused Interlaclngs of color notes and the piled on pigment produces a cool, shimmering effect as if dawn or moonlight were seen through the branches of some remote and secret wood interior. It is a favorite and recurrent theme and Is repeated in a variety nf comnositions in the present ex Art lovers know what to expect when the little hand pulled etched notice arrives from the Fifteen Gallery. It announces ths Armond Wargny and Lars Hoftrup show and has been designed and executed by these artists. There is a quality in its format and printing that acts as a harbinger of those quiet, deeply felt landscapes that the exhibition is sure to contain, those responses to eternal aspects of nature that these unassuming artists continue to delight in interpreting, whether economic and social disasters rock the world and whether or not the artist, if he is to fulfill his role as interpreter, mast record. That is Brooklyn Artists Exhibits At Contemporary Arts Joseph Soloman In his exhibition at Contemporary Arts gives a new interpretation of what is now a favorite aspect of the American scene namely the forgotten streets with their small red brick and frame houses, dingy remnants of another era left behind as the city, with its unaccountable vagaries, has grown In other directions.

Mr. Soloman, instead of seeing his subject with cool objectivity that char acterizes the work of his fellow delineators of similar subjects, gives it a somber emotional quality expressed in deep glowing colors and simplified arrangements of light and shadow. A Brooklynite, Mr. Solomon admits a great fondness for qulefc- Brooklyn streets as subject matter for art and also admits that his first enthusiasms were rpHE retirement of Dr. William Henry Fox as active director o( the I Brooklyn Museum to assume the status of director emeritus affords the opportunity for offering an appreciation of what his career as director of the museum has done to enrich the life of this city, as it also offers the opportunity for tracing the development of the museum under the 22 years of his distinguished and liberal leadership.

Such a resume at the same time evaluates the influence which the museum has had upon the cultural life of the country as well as upon the community for which it became the cultural focal point. It happens that Dr. Fox's directorship spanned what future historians will sum up as the most active and widespread development in art appreciation that the world has seen as it also encompassed one of the most radical revolutions in esthetic standards. It was one of Dr, Fox's special contributions to have been one of the foremost instigators of this increased Interest In art, as he was also a pioneer in helping to develop the liberal point of view and standards which are now taken as a matter fix chapter of what was then a hotly disputed esthetic revolution. BiIi fij WSIIllliiB hibition.

A canvas which calls fof special mention Is entitled "Along the Quay" and Is an interesting example of the artist's ability to create forms and a design out of what appears at first glance to be an Incoherent mass of tones. Quietly and gradually, as if seen through a fog, the shapes disengage them selves and the composition assumes a coherent whole. The majority of the drawings are studies of a little girl and again the same method is pursued. From a tangled confusion of pencil strokes, tenderly felt and solidly conceived, forms emerge. Lars Hoftrup Mr.

Hoftrup gives fresh evidence of his ability to discipline his delight In color and light in solidly conceived designs. His compositions are increasingly more direct and simple; the clear-cut geometric shapes of farm houses, white against dark November skies is the theme of several of the canvases Included in the present exhibition. In all of these canvases and in the water colors which he also exhibits the art lover responds to Mr. Hoftrup's emotional reaction to nature. The exhibition marks a definite step forward for both of the artists.

Alexander Calder's "Mobiles" The highly provocative mobile by Alexander Calder which has been placed in the 57th St. window of the Fuller Building should lure a wide variety of visitors to the Pierre Matisse Galleries in this same building, where a collection of similar mechanical abstractions are on view. The mobiles come as an appropriate apotheosis of a season whose major events have concerned themselves with questions of the machine age, whether in the realm of social and economic ethics or in art. Mr. Calder's mobiles are ab stract forms made of metal disks or pieces of wood and stone that move on wires by means of concealed batteries.

Their motion follows the direction of rhythms that are suggested in abstract paintings. They are abstract painting and sculpture come alive, as It were, or to paraphrase James Sweeney's penetrating analyses of their development, they are a fusion of spatial caligraphy In wire texture contrasts, primary colors, simple rhythms, Into forms Interesting not so much In their representational character as for themselves. But It Is not necessary for the visitor to be informed about the theories of modern art to enjoy Mr. Calder's mobiles or to see in them some profound relationship to new esthetic trends. In common with everything else that Mr.

Calder has produced his wood carvings and his wire sculpture they are a personal expression of an original and creative mind, a species of the play spirit which psychologists tell us is so frequently the urge to creative expression. Mr. Calder has had fun with his mobiles and whether the visitor sees in them another version of the Parisian Group's "Abstraction Creation," he loses their quality and intention if he does not respond to a certain lyric gayety and charm that they emanate. according to some of the current schools of esthetic thought. The exhibition is one that art lovers who respond to the lyric quality in painting should not miss.

And it is not that Mr. Wargny and Mr. Hoftrup paint alike. They do not, but both are poets in paint while curiously enough they both delight in the medium itself. They are painters' painters as well.

Mr. Wargny shows a group of I oils and pencil drawings. His per- and economic grievances have taken first place, and whatever the verdict may be about the justification of Independent shows, now that artists no longer have to struggle for exhibition opportunities, the Independent exhibitions continue to serve as signposts for current trends of thought. Abuses of the NRA, Fasciscm, social injustices of one sort or another are a conspicuous contribution to the exhibition and help to make it a vital and honest exposition of its purpose. American Genre At Ferargil Gallery The exhibition which Ferargil Galleries has scheduled for two weeks is to be a collection of paintings by Paul Sample.

Sample Is one of the most vivid of the fast developing school of American genre painters which draws Its fascinating subject material from the life of the small American community. The coming exhibition will include such scenes as a small town croquet a cancer ward of a hospital and a Summer mid-day activities in front of a row of cottages on the "wrong" side of the tracks. Independents' 17th Annual on View at Grand Central Palace of course. In other words, he brought the museum in touch with life humanized It, as it were, and he was the first museum director to give official sanction to modern art by showing the works of modern European artists in the museum galleries. In recognizing the contribution that was being made by the contemporary genius he was a proponent for the theory now so generally advocated that art is a more subtle mediator of International amity and understanding than commissions and conferences.

In carrying out these ideals. Dr. Fox Inaugurated the series of brilliant European loan exhibitions which interpreted in contemporary terms the national essence of the country which they represent. Scandinavian, British, French, Russian, Jugoslavian, Spanish and Belgian exhibitions were some of the events which furthered this purpose. A Species of Pioneering To recognize such events as a species of pioneering It is necessary to remember back to that well-nigh forgotten decade the period preceding the war.

Because of the cataclysmic effect of the war, other events, especially when they were unrelated to the causes that brought about the war, have been obliterated from our memories and accounts of the pre-war years. In the case of the arts those years have come to be regarded as a vacuum, an hiatus between the creative impulse evoked by the Chicago World's Fair of '93 and the modern movement which not come to flower in this country until after the war. But It was neither a vacuum nor an hiatus; the point of view characteristic of today was already germinating in those years. Under the direction of such leaders in cultural matters as Dr. Fox, the way was being prepared for the recognition of an inherent American quality in American art, what is now called the American Renaissance, for mu seum sponsorship of the art and In dustry movement and for the closer relating of museums with the educational systems of the city.

Without the efforts of liberal museum direction the widespread recognition of the contemporary spirit in the arts would have been postponed to a considerably later date. When Dr. Fox came from the Herron Art Institute of Indianapolis to assume the direction of the Brooklyn Museum In 1912 museums in this country had been directed by scholars whose trend was toward the archeological and the tradi tional. The Metropolitan Museum had Dr. Robinson, the eminent archeologist, for its director and the Brooklyn Museum had Dr.

William Goodyear as curator of fine arts, equally distinguished as an art his torian and for his discoveries of the theory of "architectural refine ments. But however great the cultivation and knowledge of these eminent scholars may have been the school of thought which they repre sented regarded museums primarily as repositories for works of art proven to be such by the test of time. Such contemporary works of art as were shown were definitely academic in conception and execution. Even the now forgotten exhibition of German art held at the Metropolitan Museum in 1909 and which supposedly represented contemporary German thought showed only the Munich Romanticists and Realists and ignored the already vigorous work of the Expressionists. Rising Tide of Modernism Because of the rising tide of interest in the modern spirit, which it was impossible for art lovers who kept in touch with the spirit of the times to ignore, Dr.

Fox took the stand that a museum could also give the contemporary spirit presentation, provided what was chosen to represent it was representative of the best that Is, as far as fallible judgment could make claims to omniscience. The Brooklyn Museum in pursuance of this idea provided the contemporary note, while its neighbor across the river placed its emphasis on the traditional. American the Ryders and Montecellis at the Brooklyn Museum. This same emotional quality, this free interpreting of visual reality through an emotional bias, ts quite clearly evidenced In his work. These qualities do not first assert themselves In Mr.

Soloman's work. They seem at first acquaintance to be too dark, too muddy, but after a closer examination the dark, glowing colors assume form and design which expresses the artist's emotional reaction to his subject, Franklin JVatkins At Rehn Galleries Franklin Watkins, who first camn to the attention of the art world outside of Philadelphia, where he lives, when his figure composition, "Suicide in Costume," won the first prize at the Carnegie International three years ago, is having a one-man show at the Rehn Galleries. When Mr. Watkins won his prize he was quite frankly an enigma to the majority of art lovers who journeyed to Pittsburgh to view the annual international. His point of view, his style, simply didn't fit into any preconceived mold.

Although those who had seen his murals on the walls of the Rodin Museum in Philadelphia assured the sceptical that the artist was a serious painter whose work was a curious combination of romanticism and baroque. This quality is better understood when the opportunity is given to see his work in retrospect as Is the case in the present exhibition at the Rehn Galleries. Mr. Watkins is obviously a romantic and when the subject requires It he can also be a decorator In the best sense of the word. But It is the emotional appeal of his canvases, the suggestion of moods and psychological states that gives, his work its quality and.

personality. Whether or not the visitor to tne Rehn Galleries Is won over by Mr. Watkins' expression he cannot fall to recognize him as an artist wnose interpretation of life has an imaginative and emotional quality that the eallerv frenurntpr Hns often encounter In his peregrina- una. At the Macbeth Galleries In the nude figure studies which Gertrude Schweitzer Is exhibiting at the Macbeth Galleries In her first one-man show the artist evince an unusual ability to combine translucent washes with a solid presentation of form. In other words, Miss Schweitzer does not allow her quite extraordinary skill in manipulating her medium to be come an end In itself, nor does she ior mat matter allow her graceful, beguiling presentation of her subject to take the place of a seriou study of form and composition.

In her oils, a few of which are included in the exhibition, the same sensitive appreciation of beauty is also apparent, but there is an immaturity, a need for a closer study of form that more experience will doubtless remedy. A one-man show of paintings by Stuart Davis will open at the Downtown Gallery on Wednesday. There are 12 oils and six water-colors painted In the past two years. In the paintings exhibited there are two groups. One, which he calls "Analogical Emblems," includes paintings chiefly In one color.

The other, similar in plan to works previously shown by Davis, includes paintings of smaller dimension, rich and varied in color, maintaining a gemlike quality. The exhibition will continue until May 12. An exhibition of recent sculpture by Boris Lovet-Lorski will open at the Wildenstein Gallery on Wednesday. The collection of works numbering ten pieces was recently brought from California by Mr. Lovet-Lorski, having been executed In his studio there.

Since his arrival In New York in 1920, Mr. Lovet-Lorski became an adopted son of America. A Russian, educated in Petrograd and ft student who quickly became ft master in the academics of the fine arts of his own country, he has succeeded in making his mark in the United States and prefers to live and work the majority of the time in the country that is, as he terms It, "the most alive In the world today." American and European critics have always considered noteworthy Lovet-Lorski's use of exotic materials. The coming exhibition will include an 11-foot female figure in natural bronze and several smaller figures executed In such substances as green onyx, black Belgian marble, carved lava, rose de France, rase de Milan and Cretan marble. While the majority of his work is done in taille dlrecte, Lovet-Lorski also works In clay which is later cast and beaten into bronze.

WATKINS at the Galleries of FRANK K. M. REHN Fifth M. Mrit A KUh It must not be thought, however, that because of his emphasis on the contemporary spirit Mr. Fox was a hotheaded radical.

He brought to his new task a ripe experience in museum direction and a wide ac quaintance with art movements abroad. But apart from these necessary qualifications, quite as important an asset as these other essential requirements was the intellectual curiosity and liberalism which made him recognize the fact that the world had undergone a spiritual and esthetic revolution as lunuameiiLai as me social upneavais that had destroyed the existing economic and political order. Series of Brilliant European Shows The exhibitions which repre sented this point of view were ex citing events. There was no modern museum then and the new museums with their young directors brought up in the modern spirit, were not to appear until 10 and 15 years later. The Scandinavian exhibition, one of the first of the large European loan collections, brought thousands of art lovers across the river.

Art was seen as an interpretation of nationality and a new feeling of rapport sprang up between the Scandinavian countries and American, which wa3 strengthened by. subsequent Swedish and Danish exhibitions. For the first time American art lovers recognized the vitality of the new spirit that was developing in the Scandinavian countries, the Nordic version of that revaluation of esthetic standards that was sweeping Europe and America. The Russian exhibitions, of which there was a series, commenced with the Boris Anisfeld exhibition In 1917 and ended with the group show of Russian modernists in 1923. Again the art-loving public was introduced to a national interpretation of the contemporary spirit about which it had known almost nothing.

In his foreword to the 1923 Russian exhibition Dr. Fox said: "While the war left In its wake much to deplore, it had one happy result for this country. It brought to us the products of European culture in volume and richness hitherto undreamed of. Since 1914 the Brooklyn Museum has afforded the opportunity of placing Europe's best contemporary art before the New York public." Only visitors to the Pittsburgh Internationals had had an opportunity for keeping in touch with contemporary European art events and the recognition of the contemporary spirit did not occur to any appreciable extent until Mr. Homer St.

Gaudens undertook the direction of the Internationals in 1923. The exhibition of theater art which antedated the one held at the Modern Museum this Winter by a decade or more was other evidence of a point of view which believed that an art museum should recognize other forms of creative expression besides the more ortho dox ones of painting and sculpture. A Museum of Arts and Sciences Because the Brooklyn Museum was a museum of arts and sciences there was a greater leeway offered for developing this point of view than would have been the case in a museum devoted merely to the fine arts. The same spirit, however, pervaded the exhibitions of illustrating some phase of ethnological research as in those devoted to painting and sculpture. They were related to life and they were made exciting both through their presentation and through the novel angle of approach.

Negro sculpture was seen as an impetus to industrial art and Oriental or Czech-oslovakian costumes and decorative accessories, while illustrating the customs and traditions of a people, were also used as inspiration for contemporary design. In this instance it is important to remember that the present rage for folk art exhibitions was anticipated by the Brooklyn Museum in its unique CTiS- Arouses Interest in Water-Color Medium Another extremely signifi can 1 contribution in bringing about In creased art appreciation in this country and more especially recognition of native talent were the series of water color exhibitions which commenced In 1921. From these collections the museum added to its permanent collection, which already included the great collections of Winslow Homer and Sargent's brilliant exercises in virtuosity. It was Dr. Fox's belief that the water color medium was peculiarly suited to the American temperament and that our most native and enduring expressions were frequently to be found in this medium.

He was able, by steadfastly pre- Tifi While Ballet, by Gertrude Sthtceitier, on view at Mtuheth Calleriet (ahnre, right). Mil-tittipfii River final, hy Thnrnan Henlnn, an riew at Ferargil Calleriet. senting this point of view, to reinstate the water color medium to He rftrMfnl nlarp. to remove its rpplltation for being a medium pri manly suited to tne amaieur ana so not worthy of the attention of serious artists or serious collectors. The growth of interest in water colors and the soaring prices of the outstanding exponents of the medium attest to Dr.

Fox's far-seeing connoisseurship. Museum a Forum Dr. Jewett Mather recently stated that a necessary requirement for a director of a modern museum was not to be afraid to make mistakes but that such a qualification was not desirable for the director of a museum specializing in old masters. Dr. Fox, as his record proves, was that rare combination of the two.

When the Brooklyn Museum showed its most radical installment of the story of modern art in the collection assembled by the Societe Anonoyme, Dr. Fox's Introduction to the catalogue summed up his attitude toward debatable subject matter as no paraphrase can. He said, in part: "The Brooklyn Museum does not believe that the development of taste can be forced by dicta on the part of the artists themselves, or of the critics, or of the art museum as expressed in their exhibitions. It remains with the public, as is shown by the history of art, to arrive at Its own final judgments unhampered by urging from any source whatever. In the conviction, however, that the public must see in order to Judge, the Brooklyn Museum admits to its galleries all types of work which show real creative talent and power of expression.

It is a forum wherein Is carried on by graphic example artistic discussion, which, after all, is vital to the progress of art." Emerson has told us that "every institution is but the lengthened shadow of man." It is, then, the liberal point of view based on scholarship and experienced connoisseurship which characterized Dr. Fox's attitude towards life that has given the museum its personality and distinctive status among the museums of the country. It is a- heritage more important than listed possessions which he passes on to his successor. AMERICAN ACADEMY OF ARTS AND LETTERS, Broadway at 155th St. Paintings and drawings by George de Forest Brush, to May 1.

AMERICAN INDIAN ART GALLERY, 850 Lexington Ave. Indian watercolor paintings and modern rugs by Navajo and Hopi Indians. AMERICAN GROUP, Barbizon Plaza, 58th St, and 6th Ave. Water-colors by Hobson Pittman. AN AMERICAN PLACE.

509 Madison Ave. Forty-four selected paintings of Georgia O'Kecffe, 1915-1927. ARDEN GALLERIES, 460 Park Ave. Sculpture by Wheeler Williams. ARGENT GALLERIES, 42 W.

57th St. Work by members of Women Painters and Sculptors. ARTIST GALLERY, Towers Hotel Portraits bv members. BROOKLYN MUSEUM, Eastern Parkway Brooklyn centenary exhibition. Allied Artists, 21st Annual; Block Prints, and Brooklyn Society of Miniature Painters.

BRUMMER GALLERY, 55 E. 57th St. Sculpture in metal by Pablo Gargallo. CARNEGIE HALL ART GALLERY, 144 W. 57th St.

Paintings by members of Artists of Carnegie Hall. 1 Madtaon Ave.paiminES by Arthur Dove (through courtesy of An American Place), Yasuo Kuniyoshi and Max Weber. CONTEMPORARY ARTS, 41 W. 54th St. Paintings by Logasa and Solman.

CRONYN AND LOWNDES GALLERIES, 113 Rockefeller Plaza Watercolors by Chauncey Ryder. Paintings by Esther Pressoir. DEM CITE, 25 E. 78th St. Persian and Indian miniature paintings.

DOWNTOWN GALLERY, 11 13th St. Recent paintings by Katherine Schmidt. DUTtAND-RUEL, 57th St. Paint- ins by Lucien Abrams. 1 ON When Is the Independent idea really independent might be taken as the theme song of this season's conspicuous participation in the no jury free-for-all show.

For The Salons, whose present exhibition at the Forum, Rockefeller City, is the largest no-jury exhibition to have been held in this country, have accused the Independents of not living up to the letter of their credo free for all and the Independents in return accuse the Salons of similar deflections from the same ideal. But whatever the truth of the matter may be, between the two of them the result after all serves the original purpose more effectively than if these schisms and secessions had never taken place. The artist, in other words," has increased opportunities for getting his work before the public. The Salons 12th annual was reviewed in these columns last Sunday, although the result was somewhat garbled, due to the make-up man's impish impulse to invert paragraphs into an unintelligible mosaic of words. The Indepen Art Calendar EIGHTH ST.

GALLERY, 6 W. 8th St. Anniversary group show of paintings. THE FUTEEN GALLERY, 37 W. 57th St.

Paintings by Lars Hoff-trub and Armand Wagny. FERARGIL GALLERY, 63 E. 57th St. Paintings by Thomas Benton Trees Thirty-five fine prints. GALLERY, 144 W.

13th St. Paintings by Renee Lahm. GRAND CENTRAL ART GALLERIES, 6th floor, Grand Central Terminal Art of the Indian of the Southwest by Mrs. Walter Ufer. GRAND CENTRAL PALACE Lexington Ave.

and 48th St. Society of Indepenuent Artists' Annual, GRAND CENTRAL ART GALLERIES, 5th Ave. branch, Union Club building Paintings by Elliot Dangcrfield. GRANT STUDIOS, 114 Remsen St. Watercolors by Brooklyn Society of Artists.

KEPPEL GALLERIES, 16 E. 57th St. Exhibition of prints by Barbizon School. KNOEDLER GALLERIES. 14 E.

57th St. Loan exhibition of paintings by Goya. KRAUSHAAR GALLERIES, 68 5th Ave. Paintings by Gifford Beal. JULIEN LEVY GALLERY, 60 Madison Ave.

Paintings by Dali. MACBETH GALLERY, 15-19 E. 57th St. Memorial exhibition of i paintings by Chancs Davis. Paint- I ings by Jay Connaway.

PIERRE MATISSE GALLERY, Fuller Building, 51 E. 57th St. Mobiles by Calder. MARIE STERNER, 9 E. 57th St.

Paintings of Norway by Bernt Cluyer. METROPOLITAN MUSEUM OF ART, 82d St. and 5th Ave. Loan exhibition of New York State furniture, to April 22; Fahnestock collection of laces and Blacque collection of textiles, through June Three Hundred Years of Landscape Prints; display of nineteenth century lace shawls. dents' annual is, therefore, the subject of this present review.

In spite of a considerable deletion of regular exhibitors due to the importance given the rival society and because of lower admission fee, the Independents held their own. And it must be confessed they have retained a quality of independence that was lacking in the Salons. This was probably due to the fact that the Salons were obliged to agree not to show any pictures that were unpatriotic, against religion and displeasing to the Rockefeller family. What becomes of the independent idea under those con ditions? The Independents, on the other hand, have the usual crop of radical canvases, some of which quite conceivably would not be acceptable to the landlord of the Forum Gallery, Rockefeller City, that is, if the destruction of the Rivera mural may be taken as a guage of what sort of art is displeasing to the Rockefeller family. With prohibition out of the wa as a popular theme for painters who regard art as pictorial propaganda, social MIDTOWN GALLERIES, 559 5tti Ave.

Group show. MILCH GALLERIES, 108 W. 57th St. Watercolors bv John Whorf. MONTROSS GALLERY, 785 5th Ave.

Paintings by Virginia Berres-ford. MORTON GALLERIES, 130 W. 57th St. Paintings by Oliver Chaffee. MUSEUM OF THE CITY OF NEW YORK, 5th Ave.

at 104th St. Costumes worn at the Prince of Wales Ball, 1860; the History of Central Park, 1852-1933; Tally-ho coach; a Caleche of 1895. MUSEUM OF MODERN ART, 11 W. 53d St. Machine art, to April 30.

NATIONAL ARTS CLUB, Gram-ercy Park Annual exhibition Society of Illustrators. NEIGHBORHOOD CLUB, 104 Clark St. Paintings and prints by Aline Ingraham Macy. NEW YORK PUBLIC LIBRARY, Central building Wood engravings by Henry Wolf, for prints, in Print Room. REHN GALLERIES, 683 5th Ave.

Paintings by Franklin Watkins. REINHARDT GALLERY, Heck-scher Building, 5th Ave. and 57th St. Watercolors by Sanford Ross. ROCKEFELLER CENTER, -30 Rockefeller Plaza National Alliance of Art and Industry exhibition, Forum Salons of America.

SCHWARTZ GALLERIES. 507 Madison Ave. Memorial show of paintings by George Inness Jr. SELIGMAN GALLERIES, 3 E. 51st St.

Contemporary American Art. TEN DOLLAR GALLERY, 28 E. 55th St. Smith oil paintings by Ellshemius; lithographs by Kuni-yoshi. VALENTINE GALLERY, 69 E.

57th St. Manhattan Patterns by Charles Shaw. WEYHE GALLERY, 794 Lexing ton Ave. Prints by American art- is ts. WILDENSTEIN GALLERIES, 19 E.

64lh St. Paintings by Pierre art lovers first discovered the riches whalinf exhibition and the collnc-anri rfivprsitv nf rnntpmnorarv Rn-; -ion of parlV American arts and ropean art through the exhibitions that were held at the Brooklyn Museum. And in discovering European art they were aided in discovering post-war Europe. Europe for the art lover no longer meant merely historic monuments and museum collections but a vivid multicolored expression of a new era. Concretely the Brooklyn Museum was the first American museum to hold a comprehensive exhibition of the work of French Post-Impressionists, although in all fairness the Metropolitan was only a month or so behind in putting on a similar exhibition.

This was In 1921, seven years after the Armory Show, but the war had intervened and It had been scarcely possible to arrange such an exhibition sooner. Both exhibitions provided the general public with the next representative! Hy Alexandrina Rohertton llarrli, prenidrnl nf the National Society Women I'ainlem and Sculptor; and alto pretident of the. Brooklyn Society of Mininlnre Painler whom 6th annual It now on view at lha Brooklyn Museum,.