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SECTION SIX PAGE EIGHT THE PTTTW1TROTT STTSTPAY PORT. OCTVRTvT? 31. 102(5. LANDSCAPES IN INTERNATIONAL EXHIBITION AROUSE INTEREST international art show continues to attract attention cf the Pittsburgh exhibition give ex- raordinary pleasure. How far the fact that they are American counts is impossible to say and we need not pretend to a wholly dispassionate judgment of our own art.

Nevertheless, the American section contains much extraordinarily fine accomplishment, as fine as any in the galleries, and to be modest about it could be only deliberate pose. Nor is it a section in which landscape dominates. REDD JONES. The landscape paintings the Car- i ii t'W'f, WMW IJi 1 C2ffVCVj negie international exhibition offer a 41 1.1 source of comparative interest to any- m- II fZ one who desires to see one idea ex- Pr S'fW 11 11" pressed in various styles of painting. JS' ik i- JSs rF I A Time was when the best of American I "-'wL i ffwi fijfsfi II i paintings were confined to landscape I X-f rtJ JU 1 W-k I subjects, and although Americans by 4 4 WllWOT 4 I no means come off second best In this "1 ers have enlarged the scope of their 4 jkjkj 1 activities to include excellent genre 151 "jSSSSi I 't fetvW I 1 and portrait paintings.

In the group ZtX' 1 I i I of paintings reproduced above Horatio 1 ISl SjV 1 wl 1 Walker (American) illustrates the 1 4 Ifc ''nm 1-' conservative style of landscape, while f-tlJffA '1' tnTradicaTtype in (its most arbitrary 1 l1. Marchand, hits a happy medium be- I Vlsfe. x''iCL' 0" tit tween the two styles in his line can- The old critical tag- that we are very successful in landscape, with the Implication that we are unsuccessful most other fields, may as well be laid aside forever. Our landscape painters need no bush. They know their outdoor world, and continue to feel that necessity of painting it from which arises the mystic union between painter and subject at the root of all true art.

"But our portrait painters and our painters of 'subject of still life, of towns, streets and buildings, acquit themselves with no less distinction." The delightful thing: about Miss Cary's review is, that although she has seen a number of the American paintings before, she refrains from berating the Carnegie Institute lor showing them again. So to her other virtues as a critic. Miss. Cary aflds the almost forgotten one of "noblesse oblige." DANCING AT KRAMER'S Addition of a schedule of after-the theatre suppers has added largely to the crowds of late amusement seekers at Kramer's restaurant, downtown: The special cuisine service is made a Kramer feature and as an additional incentive there to dancers, dancing will be held each Wednesday. Friday and Saturday nights from 9:80 until 12:30.

The Collegiate Imps orchestra, under the direction of Chuck Vogel, will play. Noted Professor Will Conduct Department Of Fine Arts at Pitt peoenicr; rv C. LAPP The University of Pittsburgh is to have a department of fine arts, and Dr. Frederick Mortimer Clapp. graduate of Yale and doctor of letters.

University of Paris, is appointed professor and head of the department Dr. Clapp is recognized as a scholar and writer on the history and meaning of art. He is now in New York, and after a few weeks will sail to Europe, where through the year he will collect books, lantern slides, photographs and other material and equip ment for the department of fine arts. Courses in the department will begin in September, 1927. When the department is ready to begin work, an as sistant professor, a librarian, a photo- grapher and others will be added.

gy gokoo'V v)4tier aoc couch Ca ject, a mother with her children surrounded by gambolling lambj. His style, however, is modern. Allan Gwynne-Jones in "English Spring," No. 147, hits off a convincing impression of a lyric spring on a small canvas. It is a modest picture, but in its compact use of green, blue, rose and brown lies the secret of a charming ensemble.

Oldrich Blazicek, Czecho-Slovakian, in No. 2S5, "Beginning of Spring," Is as spontaneous as Allan Gwynce-Jones, but whether spring comes to Bohemia in rougher fashion or Blazicek is interested in a lustier viewpoint, the Czecho-Slovakian, certainly gives us a rough and tumble March-like version of the season. LANDSCAPES INTERESTING. One may depart from seasonal effects and regard a group of landscapes where substantially the same elements have gone into their making. For instance the "Change of the Wind," No.

84, by Charles H. Davis, shows clouds, meadows and trees as the principal elements in the composition. Davis achieves a sense of the airy in his pleasingly colored picture. George Sotter in "Clouds of Evening," No. 70, is more arbitrary in arranging his forms Into a design.

He loses the sense of atmospheric lightness which id the outstanding virtue of the Davis painting, but he gains in the quality of dramatic design. The great, rolling, golden cumulus clouds are seen above deep forests in shadow. Emil Carlsen in "Connecticut Hillside." No. 18, blanches his blues and gTeens into an opaquely silvery version of reality. He justifies his imposition of color by sustaining the whole in a piercing key.

One finds the same natural ingredients in "A Summer Morning." No. 133, by George Clausen in the British section. Clausen, too, has chosen to establish unity through the medium of a silvery envelope for his landscape. He uses a more modern stylo of form for his clouds and trees than Emil Carlson does, and thereby gains in liveliness. However, he subordinates this agility of forms by the subduing effect of his enwrapping silvery tone.

ELUSIVE LANDSCAPES. In other paintings in the International exhibit, one finds the idea of an envelope used, such as the Monet painting, No. 229, "The Thames and London Bridge Through the Fog," where an almost yellow pall conceals the famous London view. Howard Giles in No. 78.

"Maine Fog," has endeavored to show the grey chiffonlike shreds of fog being dissipated beneath the sun's rays to reveal rich color all about. A consequent weakness follows Giles' attempt with the evanescent-Karl Anderson is more successful with his endeavor to show the golden haze near sundown in No. 38, "Saugtauck Bridge." Anderson is affiliated with the modern's idea of form as he renders trees, red earth, and a railroad bridge, and its signal structures with vigorous freedom. He has not yet, however, reconciled his earlier two-dimensional decorative style with the modernist requirements. Looking about the exhibition for landscapes asoclated with the modern movement, one happens upon No.

137, "The Hotel Garden," by Roger Fry in the British section. The painting is not especially abstract and therein lies the surprise for Roger Fry has been the Bayard of the modernist movement in England. He is at once the most entertaining and probably the most erudite of English art critics. In all of his criticisms one is aware that Fry always perceives art as springins directly from the facts and emotions of life. Fry's painting bears an echo of Renoir in its style which is attuned to the lushness of nature rather than to Nerve Where to Find Them The following paintings discussed In the accompanj-ing article are listed by the galleries in which they ar- "tng: GALLERY 11 UNITED STATES.

15 Clarence R. Johnson "The River Front." 22 Charles Reiffel "Alpine, California." 50 Edward W. Redfield "Brook in Sunlight." GALLERY 12 UNITED STATES. 18 Emil Carlsen 'Connecticut Hillside." 38 Karl Anderson "Saugatuck 46 W. Elmer Schofield "Winter Woods." 60 John E.

Costigan "Springtime." 66 Anthony Angarola "Enchanted Valley." 70 George Sotter "Clouds of Evening." 72 Howard Giles "Maine Fog." GALLERY 8 UNITED STATES. 84 Charles H. Davis "Change of the Wind." 92 W. Granville-Smith "The Old Mill." 98 Daniel Garber "On the Delaware." -GALLERY IS GREAT BRITAIN. 109 Walter W.

Russell "The Little Holding." 118 Sir D. Y. Cameron "Ben Ledi." No. No. No.

No. No. No. No. No.

No. No. No. No. No.

No. No. TY PEXELOPE The international exhibition at tho Institute continues to attract tardv critics, who assure many out-of-town reviews on the show, and to claim the attention of many art patrons from other cities. Attendance at the lectures provided by the Carnegie Institute likewise proves that Pittsburgh is sensitive to the goodly fare proffered the international. Tie Gillespie gallery announces that an exhibition of thumb box sketches by local painters will be the feature of their November exhibitions.

The gallery will show an exhibition of paintings by Eleanor Abrams from November 1 through November 15. There will be 30 paintings, chiefly from uubjects found in Bermuda and in Italy. Miss Abrams, we are informed, is a native of Butler, who has exhibited paintings in New York, Philadelphia, Buffalo. Chicago and Boston, where she has received favorable notices. The current international exhibition presents a wide range of landscape paintings from the photographic smoothness of W.

Granville-Smith's picture, "The Old Mill." to the exciting Mallorcan landscape by Anglada Camarasa. The majority of the 50 landscapes in the collection are in the American section, since the painters of the eastern United States have made landscape painting peculiarly their own. BRITONS STRONG. The United States, however, does not stand alone with dull but painted landscapes for we find that, in addition to No. 92, "The Old Mill" by W.

Granville-Smith, the British section has a Turneresque canvas of large dimensions but bereft of interest in No. 151, "The Deserted Quarry," by P. Wilson Steer. Even France adds its bromidic comment to landscape painting in No. 231, "Sun Rising at Edge of a Pool," by Albert Lebourg.

The Hungarian landscape belonging to this trite group is by one Bela Grunwald, No. 262, and is pleasantly entitled "The Piggery." Keeping well within the boundaries of the conservative landscape painters, one takes a glance about to see what happens when a painter takes a stock idea such as winter or spring. One finds, for example. No. 143, "Moon-rise Over Schlern," by Adrian Stokes in the British section, a canvas which leaves one's attention colder than the snow wrapped peaks.

Two other canvases, whose experienced workmanship does not neutralize their vapid are snow scenes by Elmer Schofield in the American section and by Gustaf Fjaestad in the Swedish group. Schofleld's "Winter Woods," No. 46. is probably faultless in workmanship but devoid of power to convince the spectator that the painter has been greatly absorbed in the idea he set out to communicate. Fjaestad idealizes the winter in "Hoar Frost," No.

188, rendering it a decorative interlude, softening it Into a kind of ghostly spring, with his snow laden birch boughs silhouetted against a mauve-rose haze. Edward W. Redfield in "Brook in Sunlight," No. 50, shows the break of winter with a prescience of spring intimated rather than expressed. Red-field differs from every other painter in this type of subject in that his own vivid Interest in the scene he paints is forcibly communicated to the observer.

He loses nothing in transmitting his tremendous zest for the countryside seen under the glow of winter sunlight. His skill is so certain that one takes it for granted until comparison is made with the work of other painters essaying a similar type. John E. Costigan in "Springtime," No. 60, does a Barbizon tyre of sub Keep Your The Spiral Bedspring Cells and To spine rest so flow system.

this Ideal worth Foster the austerity preferred by the later moderns. Jules Flandrin in the French section with his "Dauphine Landscape." No. 248, is calm in comparison with his first showing at the Carnegie international some years ago. He has achieved considerable more depth than in his previous canvases. It would appear that he has at once enriched his style and simplified it.

Every form in his composition has a definite relation to the 'whole the color is pure and sweeps across his canvas with intent a human touch is added by the incidental figures of a piping cowherd and two listeners. Armand GuiUaumin in No. 206, "The Granges Country," exhibits a land- scape, excellently composed in the modern tradition, rather hot in color, It is ultra-conservative when com- pared with No. 165, "Spring," by Max Pechstein. Pechstein, unlike any other artist in the exhibition who has embodied the idea of spring in a painting, chooses a city not the country.

The city is so violently colored in blood red. Prussian blue, and arsenical green that it inevitably suggests the habitation of Otto Dixs creature in red. Anthony Angarola (American), in No. 66, "Enchanted Valley," shows greater violence of form than Pechstein yet because Angarola has subdued his color, he produces a more orderly chaos. Angarola seems to be developing a formula instead of enriching what promised to be one of our most original talents in American paintings.

We find a somewhat similar idea, although utterly different in treat ment, in No. 177. "San by Edwin Oiler in gallery 15 representing Norway and Sweden. Oilers has simplified his formation in about the same measure that Angarola has overstressed his. Yet both these men are affiliated with modernist traditions.

Oilers shows orchards and mountains with a panorama-like effect while Angarola imprisons the observer's attention within the valley. CONVINCING LANDSCAPE. If we turn to Walter W. Russell's No. 109 In the British section, "The Little Holding," we come upon a simplicity of statement as direct as that of Edwin Oilers, yet singularly enforced Russell paints the England of Constable.

His translucent color ranges from the yellow green to the gTeen that la almost black. His landscape No. 133 George Clausen "A Su-mmer No. 137 Roger Fry "The Hotel Garden." GALLERY 10 GREAT BRITAIX. 143 Adrian Stokes "Moonrise Over Schlern." 145 Sir D.

Y. Cameron "Frejus." 147 Allan Gwynne-Jones "English Spring." 151 P. Wilson Steer "The Deserted Quarry." No. No. No.

No. No. GALLERY 14 GERMANY. 165 Max Pechstein "Spring." GALLERY 15 NORWAY AND SWEDEN. 177 Edwin Oilers "San Gimignano." 188 Gustaf Fjaestad "Hoar Frost." No.

No. the conservatives far outnumber the radicals is of no importance, since the latter make the sharper impression. In any composition one keen accent may balance a large area that is plain plane. "Next to the American section, the French has the advantage in numbers, rising above the half-hundred mark precisely to the degree that Great Britain sinks below it, but on account of its greater variety and buoyancy its numerical superiority seems far greater than After naming the men familiar to Americans for long years, such as Menard, Miss Cary went on to a consideration of Bonnard and his group, whom she described as "a group whose sensitiveness is more of the nerves and less of the eye." She describes the presence of Dunoyer de Segonzac among them as "into this circle of painters who clothe originality with excellent good manners a canvas by Dunoyer de Segonzac heaves itself heavily, without apology, filled completely with its own concerns, and its concerns limited to the need of painting in a certain way." Miss Cary then proceeds to a careful analysis of the painting which well illustrates the In tegrity with which she approaches her work. After a thorough study of various French types of painting-, she passes on to the English.

"Great Britain is simpler," in Miss Cary's opinion. "Her artists are more content to grasp what is within their scope, and enjoy their art within its temporary limitations, instead of keeping their minds fixed upon that timeless region where abstract design and pure painting are invested with incorruptible life. Hence within clear limits Great Britain practices art with conspicuous success." Miss Cary then treats of portraiture in the British section and makes a careful study of the portrait of the Right Honorable Lord Blanesburgh by Charles Sims, which has received short shrift from the majority of the literary observers. Her interpretation of Ambrose McEvoy's portrait of his mother is superb. It strengthens the personal opinion of the reviewer that the McEvoy painting was of first prize caliber.

The German, Italian, Swedish and other sections were discussed at less length. In a subsequent review devoted to the American section of the Carnegie International exhibition, Miss Cary remarks: "To one American visitor the paintings in the American section i PER CENT. tintttwSKKMds 1 arts and Bany SE32S3 Thetrty Promoting Di'" ChMrfulneo (Unto! neither Opium. Mineral Not Narcotic '(HtOrSJUWlltltt1 ConsIipalioB)rrflf, and FevenshS5 To avoid imitations always look for Proven directions on each package. vKi- i ick- Sill 1 1 IS Fluid Dracto- A4M A rtjllm UN IMrW pleasant, Oil, Soothing Infants It has years Aids GALLERY 16 FRANCE.

No. 20 Armand Gvillaumin "The Granges Country." No. 229 Claude Monet "The Thames and London Bridge Through the Fog." i "Sun Rising at Edge of a Pool." "The Hill." 17 PRANCE. "Dauphine Landscape." has a substantial quality. Santiago Rusinol in "Garden of Jativa," No.

325 of the Spanish section, is properly more formal in his study of a garden with grave cypress trees surrounding a welL In the American section one finds two decorative versions of the American scene in the same mood as the Russell and the Rusinol. Both Clarence R. Johnson and Daniel Gar- ber show decorative aspects of the land along the Delaware river. John- i son's "The River Front," No. 15 and Garber's No.

98, "On the Delaware," i exemplify the American subject as its i poetic best. Daniel Garber takes what might be merely pleasing and weaves it into a tapestry-like arrangement that yet retains its three dimensions, i He chooses twin trees, probably syca mores, which are green-gold in color and through their spreading boughs one discovers the river and tree-clad hills beyond. The density of the trees is broken by a series of spots of yellow, orange and red which resolve themselves into the peaks of the houses. He throws enchantment about a commonplace theme. Sir D.

Y. Cameron goes to the other extreme from Garber's manipulation of many details to an economic simplicity in "Ben Ledi," No. 118, and in "Frejus," No. 145. The Scotsman depends upon the discreet elimination of detail with but one accent in his "Ben Ledi" which shows an expanse of moors with the snow-capped mountain in the distance.

"Frejus" Is only a silhouette in magnificent red, muted into mystery. Midway between the embroidered style of Garber and the stark one of Cameron, one discovers the Frenchman, Jean Marchand. in No. 232, "The Hill." Marchand's landscape is rich in quality. It has an assured homogeneity that few landscapes achieve.

I can only think of one American who did it occasionally and that was Abbott Thayer. Marchand perceives the architectural splendor of nature in the river with its accompanying highway, the accidental domiciles of men guarded by an aloof cypress tree which companions the hill behind it. The color is clear and pure. The whole is positive to a point just short of bluntness. Charles Reiffel in No.

22, "Alpine. California," shows somewhat the same bi staee, special lighting1 effects and other necessary equipment, very lew ever at- amateur companies have i No. No. 231 Albert Lebourg 232 Jean Marchand GALLERY 248 Jules Flandrin No. No.

No. No. No. GALLERY 262 Bela Grunwald GALLERY 4 285 Oldrich Blazicek GALLERY 309 Tito Cittadini 321 Hermengildo 18 HUNGARY. "The Piggery." CZECHO-SLOVAKIA.

"Beginning of Spring." 6 SPAIN. "The Veiled Peak." Anglada Camarasa "Valley of Boque." To Present "Silver King" Nourished NERVES get their nourishment two ways: from food sleep. The degree of this CRY W's V-' "mm depends upon how you sleep. sleep right means that your should have perfect support and relaxation. It should easily without strain or sag, that the nightly nourishment that Nature provides may easily and untranimeled through your entire nervous If you are not getting result get yourself a Foster Spiral Spring.

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Western Factory, St. LoaU, Mo. "Garden of Jativa." the opinions of the leading critics of the United States as they reviewed the international exhibitions at the Carnegie Institute. For the first of the series we select brief excerpts from the review prepared by Miss Elizabeth Luther Cary, art critic of the New York "Times." Miss Cary devoted years of her life to the study of art, not to become an artist, but to achieve a sound basis for the appreciation of art. She is, therefore, not in the position of an artist-failure turned critic Her books on art are widely known and extensively quoted.

Unlike many critics. Miss Cary is known only to those immediately concerned with art. She has never sought the dubious honor of public approval through personal appearances. Furthermore, in her criticism she restrains her natural wittiness to make her comment less pungent but infinitely more just. Miss Cary's scholarship is sound; her taste, eclectic; her sense of justice, absolute.

Elizabeth Luther Cary says in part: "Any large general art exhibition with inclusiveness for its motto is bound to contain more of history than prophecy, and the twenty-fifth Carnegie international Is no exception to the rule. The wonder is that so much of prophecy is there, or of that recognition of changes long since begun, which is about what prophecy amounts to in a day of minor prophets. "Sixteen countries are represented in the exhibition, and naturally those represented by no more than seven or eight paintings, or, as in the case of Rumania and Norway, by only two and three, cannot display much sweep of tendency through comparing conservative and radical. The fact that No. 325 Santiago Rusinol forms as Marchand does.

Reiffel, however, has a livelier composition in his yellow-green forms of hill and meadow. It is less stabilized than the Marchand, and thereby more particularized. The Reiffel does not approach in subtlety the painting of approximately the same type by Tito Cittadini entitled "The Veiled Peak," No. 309, Spanish section. Cittadini elects a difficult color arrangement of grey and blue, showing1 the summit of a mountain which is dotted by volcanic formations Jutting up like quiescent monsters.

The painter's limitation of subject does not produce a limited painting but conveys triumphant ascent, i To our eyes the choice landscape out of the entire exhibition is No. 321, "Valley of Boque," by Mermengilio Anglada Camarasa of Maliorca, in the Balearic Isles. Anglada composes a landscape with such hearty hospitality that the spectator lives within the place the painter has evoked. An-glada's great bouquet of rose, gold and blue reveals itself as trees and mountains beyond, yet so imaginative is the color that it might be pure invention. Anglada apprehends forms that might be a modernist's revisions of nature.

He is as startling as a modernist who jjas set out to disturb the spectator's eyes, yet he is ever within the bounds Df descriptive painting. One sees a reason why landscapes should be painted when considering Anglada, for he crystallizes all of the glowing beauties of trees, hills, air and sunlight to resusiate picture-tired eyes. ELIZABETH CARY. It has been our custom to indicate MOTHER! Fletcher's Castoria is a harmless substitute for Castor Paregoric, Teething1 Drops and Syrups, especially prepared for in arms and Children all ages. been in use for more than 30 to safely relieve Constipation Flatulence Diarrhea Wind Colic To Sweeten Stomach Regulate Bowels St.

Michael's JPlayers are all set to opon the present dramatic season. All enjoyed a cool rest after the strenu- 4 that Supports the Spine in the assimilation of Food, promoting Cheerfulness, Rest and Natural Sleep without Opiates 7 ous work of producing "Veronica's tempted it. After staging such big Veil" and other plays during the past plays as "Quo Vadis," "Rome Under year, and are prepared to make the Valerian" and "Hermengild," St. Mi-coming season a bisrErer success than chael's Players feel competent to pro-the preceding one. All the old play- duce successfully "The Silver King." ers are in line.

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