DOI Heft:
Nr. 220 (June, 1915)
DOI Artikel:In the galleries
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43458#0438
In the Galleries
buildings and private houses have been disfig-
ured. Also “They wish to get away from the
incongruous and trivial and stick to self-expression
above all things.” All must approach such an
exhibition with an open mind. A few showed
veneration, many sought earnestly “what they
were driving at,” desiring a formula, many still
expressed ribald merriment.
The exhibition was a great success as containing
examples of “self-expression.” Arthur B. Davies’
large decoration is the only one which could prop-
erly take its place on a wall as a decoration. It is
called The Dawning, and shows several finely
drawn but indistinct forms, with rectangular and
very black back hair. Several rectangles are
thrown into corners and the whole is enclosed in a
narrow, bright blue frame. Davies’ other con-
tribution is a small canvas In a Forest. Four
Botticelli figures are gracefully posing against the
huge trunk of a redwood tree. They are lovely in
line and colour and remind one somewhat of
his former manner of painting.
Taylor’s Blue Tap-room is unmistakably blue.
Glackens had two portraits in which he has out-
Renoired Renoir. Prendergast’s Summer is a
decoration and is one of his joyous out-of-doors
effects with which the art world is so familiar.
Elmer MacRae’s Poppies and Lilies are long
panels, and show the only attempt at convention-
alization. One enthusiastic visitor mistook
morning glories for a hospital chart of in-
testines.
Kuhn had a large, lumpy lady seen in rectan-
gles. Some one in the gallery remarked “I’d
hate to be alone with it!” Maurice Sterne showed
three examples. Though sombre in colour the
mass of Indian figures are cleverly drawn and
indicate great study of the people of Bali. In
the outer room, George Hart was represented by a
number of fine water-colours of natives of Samoa,
Tahiti and Morea.
Hamilton Easter Field’s nine canvases, re-
cently exhibited at the Daniel Gallery, show great
freshness and freedom of technique and an excel-
IONE
BY IVAN G. OLINSKY
CXXXIV
buildings and private houses have been disfig-
ured. Also “They wish to get away from the
incongruous and trivial and stick to self-expression
above all things.” All must approach such an
exhibition with an open mind. A few showed
veneration, many sought earnestly “what they
were driving at,” desiring a formula, many still
expressed ribald merriment.
The exhibition was a great success as containing
examples of “self-expression.” Arthur B. Davies’
large decoration is the only one which could prop-
erly take its place on a wall as a decoration. It is
called The Dawning, and shows several finely
drawn but indistinct forms, with rectangular and
very black back hair. Several rectangles are
thrown into corners and the whole is enclosed in a
narrow, bright blue frame. Davies’ other con-
tribution is a small canvas In a Forest. Four
Botticelli figures are gracefully posing against the
huge trunk of a redwood tree. They are lovely in
line and colour and remind one somewhat of
his former manner of painting.
Taylor’s Blue Tap-room is unmistakably blue.
Glackens had two portraits in which he has out-
Renoired Renoir. Prendergast’s Summer is a
decoration and is one of his joyous out-of-doors
effects with which the art world is so familiar.
Elmer MacRae’s Poppies and Lilies are long
panels, and show the only attempt at convention-
alization. One enthusiastic visitor mistook
morning glories for a hospital chart of in-
testines.
Kuhn had a large, lumpy lady seen in rectan-
gles. Some one in the gallery remarked “I’d
hate to be alone with it!” Maurice Sterne showed
three examples. Though sombre in colour the
mass of Indian figures are cleverly drawn and
indicate great study of the people of Bali. In
the outer room, George Hart was represented by a
number of fine water-colours of natives of Samoa,
Tahiti and Morea.
Hamilton Easter Field’s nine canvases, re-
cently exhibited at the Daniel Gallery, show great
freshness and freedom of technique and an excel-
IONE
BY IVAN G. OLINSKY
CXXXIV