DOI issue:
Nr. 196 (Juni 1913)
DOI article:Brinton, Christian: Contemporary art and the Carnegie Institute
DOI Page / Citation link: https://doi.org/10.11588/diglit.43452#0422
INTERNATIONAL
• STUDIO
VOL. XLIX. No. 196 Copyright, 1913, by John Lane Company JUNE. 1913
CONTEMPORARY ART AND THE
CARNEGIE INSTITUTE
BY CHRISTIAN BRINTON
Having duly commiserated the
Academy, discreetly complimented the exhibitions
at Washington and Philadelphia, and commended
the salutary progressiveness of the Armory inva-
sion, it is now time to consider in detail the annual
resume of contemporary international art at the
Carnegie Institute. The last event of conspicu-
ous interest upon the calendar, the exhibition on
this, as upon previous occasions, offers a typically
conservative, well-balanced survey of current
native and foreign artistic production. For some
years past Pittsburgh has justly prided itself upon
the general average of merit which these exhibi-
tions maintain. They reveal, in point of fact, few
concessions to commonplaceness and no scram-
bling after sensational features. One readily
divines the power and efficacy of scientific man-
agement in the organization of these admirable
displays. The business energy and sagacity so
characteristic of the sturdily picturesque com-
munity are eloquently manifest in the conduct of
the Carnegie Institute in all its departments.
Nothing is left to chance. Everything fits into its
appointed place, the entire machinery of the vast
plant working to perfection whether the aim be
the increase of knowledge or the more subtly
elusive quest of esthetic beauty and stimulus.
Although covering a wide field and drawing
upon many different countries, the combined effect
of the Pittsburgh exhibitions is always much the
same. They represent that which has already
been termed in these pages a standardized prod-
uct. The variation in quality or character from
season to season is scarcely perceptible, while
numerically the total is usually in the neighbor-
hood of three hundred and fifty canvases, sculp-
ture, as is also the case with the Corcoran Gallery
of Washington, receiving no representation. In
view of the general situation which obtains at
Pittsburgh it is not surprising that the same forces
should have been at work and the same ideals
followed almost from the beginning. During the
BY ARTHUR B DAVIES
Honorable Mention. Carnegie Institute igrj
SLEEP
LXIX
• STUDIO
VOL. XLIX. No. 196 Copyright, 1913, by John Lane Company JUNE. 1913
CONTEMPORARY ART AND THE
CARNEGIE INSTITUTE
BY CHRISTIAN BRINTON
Having duly commiserated the
Academy, discreetly complimented the exhibitions
at Washington and Philadelphia, and commended
the salutary progressiveness of the Armory inva-
sion, it is now time to consider in detail the annual
resume of contemporary international art at the
Carnegie Institute. The last event of conspicu-
ous interest upon the calendar, the exhibition on
this, as upon previous occasions, offers a typically
conservative, well-balanced survey of current
native and foreign artistic production. For some
years past Pittsburgh has justly prided itself upon
the general average of merit which these exhibi-
tions maintain. They reveal, in point of fact, few
concessions to commonplaceness and no scram-
bling after sensational features. One readily
divines the power and efficacy of scientific man-
agement in the organization of these admirable
displays. The business energy and sagacity so
characteristic of the sturdily picturesque com-
munity are eloquently manifest in the conduct of
the Carnegie Institute in all its departments.
Nothing is left to chance. Everything fits into its
appointed place, the entire machinery of the vast
plant working to perfection whether the aim be
the increase of knowledge or the more subtly
elusive quest of esthetic beauty and stimulus.
Although covering a wide field and drawing
upon many different countries, the combined effect
of the Pittsburgh exhibitions is always much the
same. They represent that which has already
been termed in these pages a standardized prod-
uct. The variation in quality or character from
season to season is scarcely perceptible, while
numerically the total is usually in the neighbor-
hood of three hundred and fifty canvases, sculp-
ture, as is also the case with the Corcoran Gallery
of Washington, receiving no representation. In
view of the general situation which obtains at
Pittsburgh it is not surprising that the same forces
should have been at work and the same ideals
followed almost from the beginning. During the
BY ARTHUR B DAVIES
Honorable Mention. Carnegie Institute igrj
SLEEP
LXIX