International studio (58.1916)

■ STUDIO
VOL. LVIII. No. 232 Copyright, 1916, by John Lane Company JUNE, 1915

OSMOPOLITAN CARNEGIE
BY CHRISTIAN BRINTON
Always international of aspect and
appeal, the Carnegie Institute this
year goes a step further and becomes frankly for-
eign in persuasion. Six nations—France, Bel-
gium, Italy, England, Germany, and Sweden—are
in fact grouped together in approved aesthetic
amity. An aftermath of the Panama-Pacific
Exposition the display is however in no sense a
repetition o that heterogeneous undertaking.
The addition of a small but stimulating collection
of English canvases, and certain inevitable
changes that have taken place in other sections,
lend the affair a different complexion. Interesting
as they are in detail it is the manifest improve-
ment in these works viewed as an ensemble which
gives the event its chief significance. At San

Francisco the prey of circumstance and the un-
fortunate victim of official inconsideration if not
incapacity, this assemblage of painting and stat-
uary as seen in Pittsburgh presents an appeal
more in consonance with its incontestible merit.
Exposition methods seldom reveal art to advan-
tage, and hence those who saw this work on the
Pacific Coast only were able to gather but an
incomplete conception of its importance in the
evolution of contemporary European taste.
There is much that is exhilarating in the annual
pilgrimage to Pittsburgh. The jaded metropolite,
if such he be, can scarcely fail to react to the ex-
perience. Nature is decked in the appropriate
vesture of spring, the white of dogwood and cherry
blossom, the pink of peach and apple. The dy-
namic vitality of the place is felt directly you
approach this veritable cauldron of industry, and
when you gain the commodious corridors and


French Contemporary Collection, Carnegie Institute, igi6
COMMUNICANTS BY MAURICE DENIS