DOI Heft:
American section
DOI Artikel:Current art events
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28250#0462
Current Art Events
THE COPPERSMITHS” (BEAT PRIZE)
transcriptions from the New York neighbourhood—-
Fulton Market, the Mall in Central Park, Madison
Square and Bayonne. From his recent study of
southern European types, F. Luis Mora turns, in
his New Americans, to the immigrant just setting
foot on our shores, a painting of keen observation
of human characteristics and local conditions. He
shows in all his work, itself forceful and intent on
the demands of the picture, an inclination to what
Professor Dewey, of Chicago, offers as the best
definition of culture—an ability to understand the
social situation. His reconstruction of a Spanish
Fair in Goya’s Time afforded the contrast of lively
movement and a joyful carelessness, but would
support the same text. As an example in a dia-
metrically opposite vein, Lee Woodward Ziegler’s
Knight Errant was of the rarer stuff of dreams.
The wraith was perhaps the least successful part
of a spirited fantasy. The touch of the same
quality applied to landscape, the poetizing of the
open air, is evident in the several paintings of
Charles Warren Eaton and Cullen Yeats, with,
perhaps, A. T. Van Laer among the company.
Colin Campbell Cooper kept the two strings to his
bow, the towering edifice in his Cathedral at
Rheims, touched with the bustle of the moment by a
facing of scaffolding, and the quiet Dutch interior,
with the placid housewife, in Grinding Coffee.
Something of the smooth generality of texture with
much atmospheric grada-
tion and self-possessed as-
surance of line, such as has
built the fame of men like
Howard Pyle and Maxfield
Parrish, has been the invit-
ing aim of Charles W. Hud-
son in his rendering of the
towering bole, The Strength
of the Oak and The Last of
the Giants. Gordon Grant
carried a similar manner
into greater difficulties in
The Binnacle, the schoon-
er’s helmsman at the wheel
by night in a rolling sea
and under a fresh wind.
The light from the bin-
nacle lamps falling on his
oil]-skins and the deck
being the one illumination,
the rest was a study of
colour in the dark, a prob-
lem Hamerton delights to
write about. Near-by hung
the most individual figure study in the show, a
portrait of little Gibbs Mansfield in pastel by
NEW AMERICANS” BY F. LUIS MORA.
BY M. PETERSEN
LXXXII
THE COPPERSMITHS” (BEAT PRIZE)
transcriptions from the New York neighbourhood—-
Fulton Market, the Mall in Central Park, Madison
Square and Bayonne. From his recent study of
southern European types, F. Luis Mora turns, in
his New Americans, to the immigrant just setting
foot on our shores, a painting of keen observation
of human characteristics and local conditions. He
shows in all his work, itself forceful and intent on
the demands of the picture, an inclination to what
Professor Dewey, of Chicago, offers as the best
definition of culture—an ability to understand the
social situation. His reconstruction of a Spanish
Fair in Goya’s Time afforded the contrast of lively
movement and a joyful carelessness, but would
support the same text. As an example in a dia-
metrically opposite vein, Lee Woodward Ziegler’s
Knight Errant was of the rarer stuff of dreams.
The wraith was perhaps the least successful part
of a spirited fantasy. The touch of the same
quality applied to landscape, the poetizing of the
open air, is evident in the several paintings of
Charles Warren Eaton and Cullen Yeats, with,
perhaps, A. T. Van Laer among the company.
Colin Campbell Cooper kept the two strings to his
bow, the towering edifice in his Cathedral at
Rheims, touched with the bustle of the moment by a
facing of scaffolding, and the quiet Dutch interior,
with the placid housewife, in Grinding Coffee.
Something of the smooth generality of texture with
much atmospheric grada-
tion and self-possessed as-
surance of line, such as has
built the fame of men like
Howard Pyle and Maxfield
Parrish, has been the invit-
ing aim of Charles W. Hud-
son in his rendering of the
towering bole, The Strength
of the Oak and The Last of
the Giants. Gordon Grant
carried a similar manner
into greater difficulties in
The Binnacle, the schoon-
er’s helmsman at the wheel
by night in a rolling sea
and under a fresh wind.
The light from the bin-
nacle lamps falling on his
oil]-skins and the deck
being the one illumination,
the rest was a study of
colour in the dark, a prob-
lem Hamerton delights to
write about. Near-by hung
the most individual figure study in the show, a
portrait of little Gibbs Mansfield in pastel by
NEW AMERICANS” BY F. LUIS MORA.
BY M. PETERSEN
LXXXII