International studio (81.1925)

mceRHACionAL

OLD SETTLERS PICNIC BY ANTHONY ANGAHOLA

not know the "moderns" at all through actual and surfaces of the shanties oi "Glen Haven"
paintings, in spite of the crude angularities of his a very picturesque North Michigan summer resort
northern Minnesota shacks. Life is almost brutally embowered in trees, set down in the lee of a pro-
hard in that country among the working people tecting hillside, these sylvan notes being the
and in the building of their homes they had emblems of the poet that is in the heart of every
neither time nor disposition to engrace or embel- man of us. To escape the sordid, ugly things of
hsh their ugly habitations which, the painter says, everyday existence we have only to lift our eyes
reminded him of the wilfully cubistic structures to treetops, hills, sun-flushed or star-studded sky.
in Doctor Caligari. Here he was primarily con- But most of us are so wedded to earthly things
cerned with line and mass objectively, while sub- that we require some external attraction to draw
jectively portraying „ „ our thoughts upward.

BALLET RUSSE BY ANTHONY ANCAROLA

how his pioneers lived
without showing the
actual people them-
selves.

In pictorial art, as
in prose writing, real-
ism can be surcharged
with beauty as well as
truth. What Robert
Louis Stevenson ar-
gued for coloring the
facts of life with the
romantic spirit in
"The Lantern Bear-
ers," Angarola does
for the harsh outlines

True to his gentle,
meditative, compel-
ling spirit, Angarola
does this for us in such
a painting as his "Glen
Haven" by first satis-
fying us with the facts
of cluttered shanties
and the crudest of
fences and then luring
our eyes and thoughts
upward to the tree-
tops and the cloud-
kissing hills.

If in this phase of
his work he is a spir-

jour seventy

SEPTEMBER I () 2 j