International studio (60.1916/1917)

Ignacio Zuloaga

PORTRAIT OF MME. LA COMTESSE MATHIEU DE NOAILLES BY IGNACIO ZULOAGA


an extensive Bibliography, and each painting in
the exhibition is finely illustrated. Only Zuloaga’s
signature in facsimile adorns the orange-coloured
cover of the catalogue, which carries out the
spirit of Zuloaga and is worthy of a splendid ac-
complishment. Great is the art of Zuloaga and
great his name. R. W.
It is thanks therefore in a very high degree to
Mr. Kraushaar that the American public has had
the opportunity of seeing many notable works by
this eminent artist. It will be remembered that
some of these were acquired by Mr. Willard D.
Straight for his city residence, amongst others
The Gypsy and El Corcito.
In the last four years Mr. C. W. Kraushaar,
of New York, has purchased twenty-four Zulo-
aga’s, some ten of these being life-size portraits,
and has shown the principal ones in his galleries.
N TEWARK AND COLLEONI
Whilst admiring the generosity of the

donor and recognizing the skill and high standing
of the sculptor, we fail to understand how it is
possible that an American town with a history
extending over 250 years, and in the throes of
commemorating the fact, should find it necessary
to ignore all local and all national history by
drawing upon Italy for a replica of its famous
equestrian statue. It is a very sorry chapter in
American art when a community refutes its own
resources and traditions by borrowing from an
alien land. What earthly or spiritual connection
is there between Colleoni and Newark? Do they
suppose that their setting for the statue and their
traditional atmosphere can replace the wonderful
appropriateness of the surroundings of Venice?
It is for these very reasons that the angels weep
and that thinking people ask themselves whether
this country can ever become something more
than a mere repository for expensive art objects.
When we set up a Joan of Arc there is a basic
excuse, but for Colleoni we can find none what-
ever. W. H. N.

XL IV