DOI Heft:
Nr. 196 (Juni 1913)
DOI Artikel:Brinton, Christian: Contemporary art and the Carnegie Institute
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43452#0430
Contemporary Art and the Carnegie Institute
Carnegie Institute, 1913
THE WELL BY ROBERT J. ENRAGHT MOONY
also adjust itself with delicate sensibility to ever-
changing social and esthetic conditions. Art, it
cannot be too often repeated, is a living organ-
ism, and to preserve and foster this precious ele-
ment of vitality should be the cherished privilege
and chief preoccupation of those enjoying posi-
tions of public responsibility.
Briefly, in the conduct of these trans-Alleghe-
nian exhibitions should always be visible a gen-
erous measure of that spontaneous rejuvenation
and replenishment which is nature’s perennial
lesson, and which one absorbs in such stimulat-
ing plenitude while speeding through the Chester
Valley or skirting the banks of the cloud-flecked
Juniata.
As the current number of The International
Studio, following its inflexible custom, goes
briskly and promptly to press, there seems no
question but that the formal art season is fast
drawing to its close. Aside from certain summer
shows, such as that organized by the energetic and
discriminating Mrs. Sage, at the Albright Gallery,
Buffalo, there is little of consequence within
reasonable radius. It is the time when the big
dealers speed overseas to strip Europe of stray-
masterpieces for the edification of our actual or
potential millionaire collectors. It is the time
when fagged yet eager tourists flock to the Salons
and similar Continental exhibitions, when painter
folk hie to countryside, mountain or coast, and
upon Picture Lane settles a deep, languorous som-
nolence, as profound, though not so poetic, as that
depicted in the canvas of Mr. Davies, which aptly
serves as our initial illustration. There is yet
another sign of oncoming summer—one far more
explicit than all these—and that is the reappear-
ance of the National Academy Building bogey, the
perennial sea serpent story of the art world. A
few months since the matter was seemingly settled
to the infinite satisfaction and relief of all con-
cerned.
The Academy had acquired the Gould prop-
erty immediately adjoining the present site in
West Fifty-seventh Street, and we were shortly to
be treated to a model fine arts building. It is now
announced that this plan was premature, and that
the Academy is again hunting a home. Verily,
plus ca change plus c'est la meme chose!
L XXVII
Carnegie Institute, 1913
THE WELL BY ROBERT J. ENRAGHT MOONY
also adjust itself with delicate sensibility to ever-
changing social and esthetic conditions. Art, it
cannot be too often repeated, is a living organ-
ism, and to preserve and foster this precious ele-
ment of vitality should be the cherished privilege
and chief preoccupation of those enjoying posi-
tions of public responsibility.
Briefly, in the conduct of these trans-Alleghe-
nian exhibitions should always be visible a gen-
erous measure of that spontaneous rejuvenation
and replenishment which is nature’s perennial
lesson, and which one absorbs in such stimulat-
ing plenitude while speeding through the Chester
Valley or skirting the banks of the cloud-flecked
Juniata.
As the current number of The International
Studio, following its inflexible custom, goes
briskly and promptly to press, there seems no
question but that the formal art season is fast
drawing to its close. Aside from certain summer
shows, such as that organized by the energetic and
discriminating Mrs. Sage, at the Albright Gallery,
Buffalo, there is little of consequence within
reasonable radius. It is the time when the big
dealers speed overseas to strip Europe of stray-
masterpieces for the edification of our actual or
potential millionaire collectors. It is the time
when fagged yet eager tourists flock to the Salons
and similar Continental exhibitions, when painter
folk hie to countryside, mountain or coast, and
upon Picture Lane settles a deep, languorous som-
nolence, as profound, though not so poetic, as that
depicted in the canvas of Mr. Davies, which aptly
serves as our initial illustration. There is yet
another sign of oncoming summer—one far more
explicit than all these—and that is the reappear-
ance of the National Academy Building bogey, the
perennial sea serpent story of the art world. A
few months since the matter was seemingly settled
to the infinite satisfaction and relief of all con-
cerned.
The Academy had acquired the Gould prop-
erty immediately adjoining the present site in
West Fifty-seventh Street, and we were shortly to
be treated to a model fine arts building. It is now
announced that this plan was premature, and that
the Academy is again hunting a home. Verily,
plus ca change plus c'est la meme chose!
L XXVII