International studio (81.1925)

inCGRHAClOnAL

for the occasion. The side of this medal showing where it was prominently placed; a short time
the discovery of the river by the Dutch mariners later the artist was invited to become a member
is particularly noteworthy; there is an air of of the League. A very lovely small bronze, "La
activity among the sailors and a dominance given Pensierosa," has been purchased by the Metro-
the figure of Hudson himself politan Museum and there is

which produces a dramatic in- the figure of a child by Mr.

tensity not often found in the
art of the medalist. Mr. Fuchs
also made a medal in 1908
commemorating the fiftieth
anniversary of the Numismatic
Society and this is also its
membership medal.

In Mr. Fuch's work in the
round, particularly in the por-
traits, one finds a great variety
of feeling. While Mr. Fuchs is
a portrait painter as well, he is
particularly interested in sculp-
tural portraits when the con-
tours of the sitter's head pre-
sent an interesting aspect from
more than one point of view.
The half-length of Mr. Koba-
yashi is admirable for its dig-
nified calm and its perception
of the intellectual quality of
his Oriental subject, who is
one of the directors of Mitsui
and Company, the "Morgans
of Japan." Alert vitality is
expressed in the regular and
handsome features of Edgar
Seligmann, international fenc-
ing champion, while repose is
the keynote of the classic head
of Sir Arthur Pinero, who looks
very much the "antique
Roman."

Besides his portraits, Mr.
Fuchs has also carried out a
number of imaginative themes
since the days of the "Mother
Love" in Rome. A recent ad-

Fuchs in the Cleveland Mu-
seum.

Toward the end of April
Mr. Fuchs will hold an exhibi-
tion in New York that will be
unique, a one-man show in the
Fine Arts Building where the
exhibitions of the National
Academy of Design, the Archi-
tectural League and other or-
ganizations are held. Its three
large galleries are accustomed
to house exhibitions by several
hundred artists at a time, but
this is the first instance of one
man assembling several hun-
dred of his own works in vari-
ous mediums for exhibition
there. Mr. Fuchs will show
many pieces of sculpture that
he has never exhibited in New
York before, as they have not
long ago come from the London
studio which he has now per-
manently closed, although he
at one time intended returning
to it. Now, however, he feels
that his future is bound up with
the course of American art.
His is not the attitude of the
artist who capitalizes on being
a foreigner, and uses his emi-
nent connections in other lands
as a bait for those who hope to
gain distinction by having
their portraits executed by an
artist who has "done royalty."
On the contrary, he is building
dition to the group of such "la pensierosa" bronze his "American period" on

subjects was "The Call From by emil fuchs American foundations and giv-

_ t 1 • t In the Metropolitan Museum . . . ....

the Beyond, which was a mg it quite as distinctive a

products of his New York studio; his model, for flavor as that which distinguishes his earlier work

whom he had long searched, was a little American in Italy and England. Not only in sculpture, but

girl with a strangely sad face whose air of being in his painting and etching, he has progressed in

one who "dwelt among untrodden ways" suited a manner which makes his American work a sig-

her to his dream of a figure with outstretched nificant contribution to the art of his adopted

arms listening to some call heard only with the country. For we have few men in America who

inner ear. This sculpture he sent to a spring exhi- have attained such proficiency in three mediums,

bition of the Architectural League of New York His example should be an inspiration to many,

at the Metropolitan Museum several years ago both students and artists.

APRIL I925

sixty-three