International studio (80.1925)

mceRnAcionAL

at a saner viewpoint on art;

they no longer feel called upon

to praise a thing because it is

out of drawing in a way they

have not seen before. To the

first group, those who had a true

critical background and were

able to distinguish between a

work of art and the product of

a movement, Madame Helena

Rubenstein belongs. Accus-
tomed to beautiful things and

delighting in them, she recog-
nized the esthetic quality inher-
ent in Nadelmann's work and
began the formation of a collec-
tion of heads by this sculptor.
The five illustrated herewith are
from her collection.

In these heads are typified
four idealized types of feminine
beauty, yet ail of them strongly
suggest the Greek. And in them
all is a quality of dignity and
repose. Restraint is here; there
is no fussiness, no unnecessary

i- r-i t • • r MARBLE HEAD

line, bach is an expression or

the artist's statement of beauty, simply told. And In the scttino- in which sh >

it was in these stanzas in Nadelmann's poem in they add distinction t th ^ ^ ^ P^afCC' t^em

stone that Madame Rubenstein recognized another at the same time °tT ^ ^Urroundmgs and,

version of her own feeling for beauty. appreciated. ' thcmsclves more readily

BRONZE HEADS

-—---._____ BY ELI NADELMANN

ELI NADELMANN

MARCH 1925

Jour eighty-three