International studio (60.1916/1917)

The Cleveland Museum of Art


THE CLEVELAND MUSEUM OF ART, CLEVELAND, OHIO

THE CLEVELAND MUSEUM OF
ART. AN IMPRESSION
BY RAYMOND WYER
A happy quality of sympathetic rela-
tionship is the dominating note throughout the
recently opened Cleveland Museum. Every-
thing seems to have been made for its en-
vironment and the environment made for every-


•CLEVELAND MUSEUM—A DETAIL OF THE EAST END

thing. From the white and grey of the marble
and the tones of grey used in many of the galleries
to the delightful brown velvet in the Italian room,
all seem conspicuously appropriate. Even the dis-
posal of the antique casts is most fortunate. For
instance, the group of the Fates which is placed in
a sort of niche, of which it almost seems a part,
heaves with that subtle continuity of the swell
of a calm sea—eternally flowing into an atmos-
phere sympathetically created by the colour of
the discreetly toned grey marble that surrounds
it. The happy placing of this group is charac-
teristic of the entire arrangement. Everything
has been considered in relation to its environment.
If I seem especially to emphasize this point, it is
because it was the quality which impressed me
the most. And is not happy relationship the
whole idea and purpose of art?
The building is imposing and graceful when
viewed from any point. Pure classic in design,
the long front of the building with its Ionic por-
tico is relieved by a pair of engaged columns at
each end while, so happy are the proportions of
the building, the large spaces between these pillars
and the porticos do not appear to be mere spaces.
An interesting and delightful feature is the
Garden Court with a skylight. In the centre is
a fountain splashing in a pond containing gold-
fish, while dotted about are shrubs and singing
birds all giving an out-of-door effect. And then
there are seats to sit down upon for the enjoy-
ment of it all.

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