International studio (58.1916)

A Modernizer of the Greek Ideal: J. H. Fry

DRYAD BY J. H. FRY


new classic spirit. In his composition of nude
figures we feel moods that are classical in their
serenity yet human in their appeal. We are not
looking at superwomen, but at just ordinary
women who are part of the world we know with
all its human inconsistencies. These women
symbolize not only a sophisticated age but an
age of calm judgment. It is reflected in the
poise, in the drawing, in the admirable and
original composition. Here is beauty of classic
calm, but here is also the modern spirit, not the
modern spirit in transition, but after, when con-
ditions are settled and intellect chastened by bitter
experience, when a love for beauty is so comprehen-
sive and tolerant that it seeks it in every phase
of nature, in objects the most commonplace.
J. H. Fry has studied in Paris, Bordighera and
in Rome. He has sat at the feet of Fernand
Corman, that great historical painter, and of
Lefevre and Boulanger at Julien’s. His work is
but little known for the reason that he has con-
sistently avoided publicity. He has at length
yielded to the importunities of friends and is
exhibiting at Knoedler’s Galleries, New York.
There is no desire to record this artist as a para-
gon amongst painters. He has faults, too, as
well as fine qualities. One notices at times a
need for a more fluid brush, at times his colour is
faulty or even monotonous, and his figures occa-
sionally are too massive for their setting.
Mr. and Mrs. Fry, who is also a painter
of reputation, share vast adjoining studios in
the Gainsborough Building, surrounded by rare
fabrics, tapestries and bronzes.

seafoam BY J* H- FRY


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