International studio (55.1915)

In the Galleries

N THE GALLERIES
We are accustomed to consider the Car-
negie Institute as the official sexton of the
art season, for after their annual exhibition
nothing stirs until the winter. This season the
sinking of the Lusitania may be said to have taken
the place of that famous institute as far as com-
pleting the art season is concerned. Every one
bemoans the loss, among other valuable lives, of
the many well-known dealers and experts who
went down in that ill-fated vessel.
At the galleries of the Berlin Photographic Com-
pany, Mr. Birnbaum has arranged a varied and
unique exhibition. It is, in some cases, a review


DESIGN FOR A FOUNTAIN

BY PAUL MORRIS

of different shows held during the winter, and will
remain, with additions, for the summer months.
One’s eye is first caught by a set of coloured
lithographs on stone, by Malvina Hoffman, the
sculptress and well-known pupil of Rodin, of
Pavlowa and members of her company. For these
she made thousands of studies behind the scenes,
when she was not fortunate enough to have that
gifted dancer pose for her. They are exquisite in
drawing (note particularly the hands), some are
violent in action, all are full of beauty and show
immense deal of study. One queries if such detail
of form could be seen when the figures are in whirl-
ing motion.
At one end of that small room which for years
has shown the New York public such unusual and
interesting exhibitions, are hung a set of litho-
graphs by Albert Sterner. The centre is occupied
by the well-known Amour Mort, one of his most
successful drawings. Near by the marvellous por-
trait-study of Mr. Birnbaum, Herbert Baer is rep-
resented by studies of birds done in coloured prints
from wooden blocks, which are the outcome of
many studies made in the Zoological Gardens at
the Bronx. Prominent here are colour prints of
flowers by Edna Boies Hopkins, engraved on wood
and printed by hand. These are exceedingly
beautiful and indicate a great power of selection
and a strong colour sense.
Mrs. L. Wright, who is self-taught, is repre-
sented by a number of groups of flowers in
water colour. In some cases her wrork is naive,
but shows how untrammelled and individual the
secluded student and lover of nature may be.
She shows patient study, research and a wonder-
ful sense of colour-combinations. One sees again
a few of Mrs. Burroughs’ delightful bronze figures
and Herbert Crowley’s extraordinary morality
studies.
Ernest Haskell’s etchings of heads and land-
scapes complete one of the most charming displays
shown this year.
At the Montross Gallery was shown from April
28 to May 22 the third of the series of exhibitions
by the Modernists, a special exhibition of modern
art applied to decoration. Mr. Montross an-
nounces in a leaflet that “ the men who made them
have thrown their hat into the ring”; that their
work is no mere experiment; that they are in frank
competition with what is outworn, conventional
and uninteresting; with the stupid allegories and
historical scene-painting with which our public

CXXXIII