International studio (80.1925)

inceRnACionAi.

call especial attention to the ex-
traordinary novelty which his art of
still-life presents—this still-life, in
which Mr. Fromkes not only por-
trays natural or industrial objects
such as fruits, flowers or porcelains,
but sculptural works of art. such as
polychromes, Gothic carvings, or a
Chinese ceramic figure; pictures in
which the artist does not limit him-
self to reproducing the object but
interprets it; commenting thus, so to
speak, upon the emotion which its
contemplation caused in him. It is
possible that we may be here at the
beginning of a new pictorial era, the
end of which would be a criticism,
in this manner, of pictorial works,
classical and modern. Something
which, in a word, might arrive at
being a critique of art itself, not
through literature but through
painting."

This is a novel and interesting
idea. The Spanish critic recognized,
as indeed all must who see these
gracious Madonnas, this poignant
"Descent from the Cross," the in-
tense reverence with which they "esperanza" by maurice fromkes
were painted, the re-birth of a truly

Gothic spirit of tender awe which belonged to a Maurice Fromkes and his wife sailed for Spain
day when religious feeling dominated art. Just as in the autumn of 1920. They returned to this
Fromkes's landscapes express an emotional reac- country just four years later. It had always been
tion, and his figures a deep sympathy with a the artist's intention to live in Spain over a period
people, so these remarkable still-Iifes are con- of years. To his friends who asked him why he
ceived in an exaltation of spirit which is potently stayed longer than several months, saying that he
manifest. They actually become a comment upon could easily "do" Spain in that length of time,
Gothic art in which the painter's contribution is he answered that he felt it would take not several
his own measure of the spiritual quality that goes months but several life-times to paint Spain,
back across the centuries to find its match in that So great is his enthusiasm that he plans to return
of the craftsmen of an earlier day. next year. And, too, after four years of the more

A word must be said of Fromkes's color. Jose quiet living which he found in Spain he finds that
Frances, writing in La Esfera, an art weekly pub- what he calls the unnecessary bustle of New York
lished in Madrid, wrote: "He is a virtuoso of disturbs him.

color, a most subtle Iuminist. It would be easy to The exhibition of Fromkes's paintings in New
look for precedents and to find an affiliation with York took place at the Milch Galleries last De-
Anglada if we wished, because of our pride, that cember. During February it will be at the Boston
all his good points should be founded upon our Art Club, of which the painter is an honorary
own. He has, like Anglada, those delicious 'em- member. The Rhode Island School of Design in
pasts,' delightful to look upon, malleable and Providence will have it in March, the Corcoran
brilliant . . ." and in further praise he says he Gallery in Washington will show the pictures in
"would exalt the ceramic quality of his paintings," April and the Museum of Fine Arts in Rochester
with their profound blues, transparent reds, his has invited them for May. Thus the signal suc-
white a little yellowish, as if time might have cess with which his pictures met in Spain is being
mellowed the polished surface of an Oriental echoed in his own country.

porcelain. Photographs by courtesy oj the Milch Gallery

FEBRUARY I 9 2 j

four

hundred three