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Taste in American Craftsmanship A Good Report of It at The Metropolitan Museum By Royal Cortissox With the new year ths mor? impor? tant sale? of the season come into view. They begin at the American Art Galleries with the dtspersal of Orien? tait? drown from the Art House estab? lished long ?go by Mr. Thomas B. Cl?rke. Brief notice of the collection r?a? already boen made In this place. Th? sxhibition opens to-morrow and ; the sale will follow promptl; In Janu- j ?ry There is every indication that j from now on nntil the spring there will be an extraordinary number of exhibi-1 tions At the moment there is some- ! thing lilt? ? pans'?? in the flood yet j even now there are new things, some of' which ar? traversed below. One cir- i eumatance wh ch promises to mark the sesson as a whole ia especially to be; noted. Though there is no want of \ foreign pictures there is s broad ten- i dency In our local galleries to bring i American art into the foreground. The i year? of 'he w?f '?nqufstionably worked ?change They have brought us. it is! true, ur.ususl tjunntitie? of material ' fro? abroad, but during this period the j nstive artist has been given his chance j ?u never before. Industrial Art The Strength It Iiraivs From Contact With the Past There is an axMbitioB at the Metro politas Museum of unusual importance. '? an exhibition which should not be neg leeted by arv s'udent of our artistic ; development. It has been arranged in j two of the smaller galleries, customari- i ly devoted to prints, and, by the way, hi the matter of Its arrangement It eommands eordial appreciation. The subject is American industrial art; it il Illustrated by specimens of the cur? rent work of manufacturera and de- ! liguen who have profited by study of th? museum's collection?. It would i save been very simple to have crowded j twice the space with a heterogeneous : mass of all manner of oojects. The ? result would have been confusion, and, for most observers, boredom. The ma uam has wisely kept the ?how within j bound?, making it remarkably repre MB-isu'-e yet avoiding duplication. The vwo rooms have an intimate and charm? ing atrftospaere Since there is no overcrowding there is nut a thing wh ch fails to enjoy its proper saiier.ee, and the curator, Mr Richard F. Bacr., has shown suck discretion in organizing the disp'ay 'ths; he has acntev&tf. anu?ng ethet things, a nail; delightful har? mony. A useful detail is the reference made on the labels to tnt bou tees from which the craftsmen have drawn their Inspiration, it lend? the last touch to ! s ?eherne that is invaluable in the light it trruws on the present etate of ar, impertan t branch of artistic endeavor -? U;s country. The mud? um fl'.r.gs a wide net ii. preparing an exhibition of this kind sad its liberality is ?well rewarded. In the list of cooperating firms the leaf? let which takes the place of a catalogue divides the exhibits into categories. It ?pens with "Advertising," and tne next iroup it devoted to "Commercial Con taint???. ' ?n short, tntre la nothing pompous about this affair If it shows what tne United States can do in eost ly tapestries and furniture, in clocks that are like works of sculpture and in riaila-ly ambitious decorative objects it shows also the beauty that can be taeugbt into a perfum? box, a bo* The largest variety ?ad Snou ?x,!|??-t?.?[i of DECORATIVE and aOWER PAINTINGS OmtAbla l-f ImO?ij a\!U Holtanbeck Studio 24 East 63D ST. Orner M?,tl???i A?? Liuiographs, Aquatints and Watercolors .aRTHURB. DAVIES arm on <?? E. WEYHE 710 Lexington A ve;. ti IT-fc Ai "fcra.sjrii A.VTiyi r.n auk sow TU* VOOl E" SPANISH ANTIQUE SHOP HSPOOTS Directly from Spain AMD HAS1H.KJA Spanish Antique? Exclusively JUfmta f?4.ftll? lattVaa l? lantpe?, ?*?? *J '? t ?ennja-rtmt tot**. >66 MADISON AVENUE ^S ?. Q/cu?y (Chines? Antiques ? Cm? Ittk ?xrmam New* Y*rk ENGLISH ANTIQUES ?C"V&9 m*m* ?Wirt?. ?MWiilIn Wat> V MMsn l*?lhr. If???, ra%Uny rSfV. ***** *~**7 ?' <*a*la* Art???? **T*mm ??? xmmm tvma. THK WILLOW BROOK CO. f w*?* *rrn wr. ?bas st* an. manufacturad la Its thousand?. Tboe un? of th? moat prectoua leaaons tn ?rtiatic education ia enforced, th* las ??on that ?ven tb? humblest article of manufacture may be lifted to an edi? fying plane. And do the muavum'a I collectiona help in this matter 1 Glane? I at these perfume boxes of the Col? gate's and observe the labels, whleh tell us that the designers, Emily Duk? und Leighton H Smith, went for their motifs to Chinese porcelains. This one episode serves, as it were, to open a door Into a whole world of artistic \ activity. The designer serves ? eon? ? me:ci3, end, but by enriching his Ideas ' at the museum he adds to that end an hrtiotie grace. Moreover, we may be ? sure thst commerce Is only benefited i by the transaction. Surely, the pur? ' -haser who ha? not the soul of a clod must be attracted by the container that has positive beauty about It, Turn rrom the boxes we have cited to the ?tampies sh"wn by the advertising de? partment of Cheney Brothers. Trrejy ??re like eehoes from the print depart? ment of ?he museum, Illustrations of ?vhat can ue made of typography and decoration when the designer takes the pa'ns to reflect on the Instruction offered hlro in the classics of the past. There Is a point of view from which w? can imagine an observer of these. exhibits taki.-i? exception to the In? fluence of the past T?a might regret the prevalence of what we may de scribe as archaeolog ;al reconstruction or ev>en flat Imitation. Often njr '?raftsmen seem to be plain copyists. V,*e share, momentarily, t?> ?-Hthe ?loubtful emotion of our hypothetical malcontent. ?3ut only momentarily. T^e sure renovation of taste i? better ?han a wilderness of specious renova? tions of style Old frequenters of the Paris Salon will rec.t.U the virtuosity of Carabin, his great wooden tables over 'he edges of which f> bgob?ns peered. There was some wonderfully fetching ?voodcarving to be applauded In his p'e?igns, but somehow we have the im? pression that that sort of thing has -inp dowr In the wind. One of the most consoling thoughts suggested by the nres-nt exhibition Is that our man?.'.facturerr h ?ve left the vagaries of l'art nouveau miles and miles be hind them. If they are content to lean on precedent it is because they have apprehended one of the srreat ?ruths of industrial art In the past. the fun-lsmentil truth that authentic types of 'esign reproduce themselves. > to ?ay, imposing themselves upon ?Ten? rat i on after generation. Take, for example, the numerous nieces of furniture in this collection. Most of them m;ght pass ai antiques. It would be arbitrary, and a iittle ab? surd, to^riisparage them for this reason. The main point is that thev are bea-.iti ful, and with this virtue we would mention another, t?-eir freedom frorr the rigidity, the coldness. Into which their makers would certainly have beer 'strayed If they had been merely me? chanical in their emulation of h'slorii oiiginais. Here is where we wou'c ??mphasize ?hat point of taste to which we have already alluded. Looking at i sideboard, lik< the one des.gned bj Alice S. Erskine for the Erskine-Dan 'orth Corporation, we are struck by th? positive vitality of the piece. It -ie rives from some souvenir In th? Hoentschel collection, but it has i charm which could only have beet communicated to it by the tou;h o: rue constructive art- We gather thi ?em? conviction ae we traverse a grea Jeai of the furniture here, the llght'nj fixtures, the meta:w?rk, the textile und the silverware. This last is poai i iveiy exciting. In two cases there 1 'a quantity of silverware exhibited b 1 the Gorham Compan , designs execute : lender the direction of Mr. Lione Moses. The s.mplicity and dignity o these pieces come like a benedictio ? when one recalls the elements tha have so often disfigured oar bilverwart ; There is beauty of !in?7 in this wor and there is an altogether admirubl reserve shown in the ornament. Ur ( mistakably this marks a reversion t i the most hon>.>rablt- tradition of Ame: ican silversmiths the tradition of day in which Colonial good judg-mei kept us from being showy. ? One tempted to go on particularising. Tl 'urniture of Francs H. Bacon, tl lighting fixtures, cocks and metalwo ?erjeraily of Edward F. Caldwell & C the le-itherwork of Charles R. Yand? & Co., the metalwork of Samuel Yel! ?nd of John Polaehek?these exhib? and scores of others hold the visit as ha Is not often held by contempora | pictures and sculptures tlver and ov ?gain we are tmpr?a?ed. too, by t ? healthy practica.Sty of what w? i here, the beautiful textil?? from t Flambeau Shops, or the wall papers t ?igned by Frank E. Leltah, which coi from the Robert Grav?s Company. E moat of all we are moved b.. tha see? of good taste wh.ch lie? upon tha ? hlbitton at a whole. No doubt it is so p?r?ae1va In effect b?caua? the exhibition 1* the I suit of a certain proceaa ot ?lectli We know, of course, that thera is ai plenty of poor work to be found In t great maas of American Industrial a i But to have achieved what ia Indica* here la to hav? made magnificent pn res?. Aft?r all, the eollaction rep a?nta ? goodly number of firma. Tr ar? Ilka ?? many widely separat springe of fin? development They eonfaaa their debt to ?ne central fot i tain, to tha policy which tha mua? | baa ?atabilehad In roeent years ? ? followad with unremitting ?n?'gy ? ! helpfotnesi. It t? th? ancient pel i whleh liea at th? root of all true e 1 tur?, th? policy of seeking out the bt ft la bearing th? most, delightful fru ?nd w? not? ee we leav? these beaut) room? on? more bijhly Important fi If American oraft?men hava g< taata, ar? lntereatlng thews? i ve. m and m?r? In good )<)??? of dacoratl -hay aav? ?la? ? r?m?ritabl? t.?ehr,i< with whleh t? eairy ?% U*i? ?*?.?? MADONNA. CHILD AND ANGELS (From ihr pa'niirg ?Ay Andre? Aiovigi at Ihe Eliri'h ijailery) The things here are finely conceived and they ere well made. Nicholas Roerich X Welcome Type of ?Modern | Russian Painting In his masterpiece. The Man Who i Was, Kipling warns us of when we ? pictures, like "The Treasure." But ; even this influence is but vaguely felt. Stronger, altogether more obvious, is the influence of the theater. Even if the collection did not contain designs such as th? seven scenes from Maeter-i : .nick's ''Princess Maieine," or the j thrjja for "Prince Igor," we would di- : ?irajfin Mr. Roerich a certain suscepti I bility to the decorative idiom of the tive. He has, indeed, much of the ' -haracter of the primitive, and espe? cially his naivete. Dozens of his com? positions have the winning ?simplicity >f tales told to children. He impresses us constantly as a folklorist turned painter. But to say this is to do but partial justice to him. Th?e essential charm of his art springs from its depth of imaginative power, its in tastie idea subtly and Impressively j realised. Mr. Roerich passes from j dreams to realities and back again He throws off scores of imaginative de? signs or h? paints Russian life and scenes. He can paint, we may not? ia passing, a beautiful landscape, as wit? ness th? two Impressions don? in th? Northern Caucasus (No?. 148 and 1*9). Whatever b? does, he is lavish of color, eolor that is always bold and sometimes a tittle heavy, a llttl? more i suggestive of chrotnatie experiments j in the studio than of contact with I nature. On th? whole, his warm. I sumptuous not? is very attractive. In his style, in which we tak? him to ? be most the Russian, he discloses again ! a certain naivete, and In this factor of; hi? art be Is at least persuasive. The ; Uuch Is not only heavy, it seems at j times fairly clumsy. His style has ' %dgor which wants refinement; if ar- j rests attention but It exert? no charm. Ftequently it recalls the halting and literal method of some eld missal, done : by a monastic Illuminator of the most modest gifts. Yet even while w? ?re repelled by the crudities in Mr. Roe rich's technique we are won back to him by their indescribable Russian savor, their suggestion of an inborn and or? ganically wholesome racial habit? Hi? art, with all Its limitations?and It has these not only where sty!? Is concerned but In matters of form and color?re? mains profoundly genuine. There Is personality In It and ther? is ? rough native force. The Russian In him 1b tereats ue Intensely. That by Itself Is important and presently w? find that with interest ther-s develops also s task Ing liking. It is as though one trav? eled through various distractions in Russia and suddenly cams upon some romantic plaee, marked by curious ar? chitecture, peopled by picturesque fig urea and flooded with plangent eolor. The strangeness of fairyland descends upon the beholder and yet he feels that fairyland has come true. Som? such sensation as this we have in traversing Mr. Roerich's exhibition. Old Masters Claude Lorrain and Some Paint? ers of the Madonna There is an exhibition at the Satin over gallery of only two picture?, but those two are interesting enough to have a room to themselves. Both are by Claude, "An Italian Landscape" end "The Rape of Europa." The art of this seventeenth century master Is rarely seen here and though it has been illus? trated in a few of the American collec? tions brought to the hummcz we can recall from these occasions no exam? ples comparable to the two Just men? tioned. They ar? of sp?cial interest because they repjesent him in the most I pastoral aspects of his classic mood. ' Towering porticos and other antique | motifs seem almost inseparable from hit? work, yet, as a matter of fact, he j ij one of that small group of painter? in the historic past who had stirrings I cf our modern emotional conception of AN ITALIAN LANDSCAPE (From the painting by Claude si the S*tmovei gallery) are to beware of the Russian. It is I at t. ? moment when he assumes the ?uifacs traits of Western elvillsatlon, when he conceals his ?acial origins be? neath a eosmopolitan veneer The mmquti-mie is peculiarly unprofitable when it occurs in the domain of art. Russian painters have often looked to \ the West, but have not so often pcr ' suaded us that they were wise in doing so. When they have gone to Paris ; they have become Parisians, When ; they have bc(?n bitten by modernism 1 thoy have had a way of turning m'ere i ly fantastic. All the time thoy have kept us from knowing P"*?l* The distinction ot Nicholas Roerich, th* palntor, whose works are voluminous? ly shown at the Klngore gallery, is thst he leaves us In no doubt at all of his faithful RuHslanism. In the catalogue he is Introduced as an aca? demician of Petrograd, and from the long list of societies to which he be? long? one might Infer that there wa* something "official" about him. Pnt It Is not academic or official art that he ? produces. He nftlrrnn himself at once as a man of originality, whose art I must be saturiitfffi In ths spirit of hie 'and and Its people. Ths single alien Influence which we would be Inclined to trace In his work Is that of Japan It accounts, perhaps. for Ik? a-sasposUi*?* ?f ? law ai kla stage But where some of his coun? trymen have been lured by the stag? Into a meretricious artificiality he seems as sincere In his romanticism as though he were some artless primi ventlvs fervor. The best picture in th. *!????? The Cav? u. -. >?" ?s| catalogued aa a scene for "Peer Gynt." j rva u ......a? o, ..??_,., it ?a less a p.iiii.edl | scune thon a painted poem, a fan- ? landscape. In the Italian scene delin? eated in the longer of these two can? vases there are figures of Roman men at arms occupied in some formal collo? quy. Claude, of course, could not have PRINCE ?OLITZJNS PALACE (Pew? *? ysJwUffcj ht m mpan?a sosas by NtheU* Raarfcii sa du Kfaafsn f|Il?f) don* without accessories of the kind. Lot they remain accessories, subordi? nated utterly to th? grand purpose of th? painter. This is to roe-Mr? that vision of a - glorious antique world which he was wont to superimpose upon the fabric that he drew from nature. Because he had genius he know how to adjust hie c'essidsm and his naturalism ?n a per? fect "unity. His naturalism no doubt falla far short of that to which ws have ? boss accustomed since the Barbisen j painters ?rose and paved the way for ? impressionism. Claude's mountain j forma are akin to the curious stratifi- ! cations we see in certain of the back- \ grounds ef Mentegna. They are part of the monumental scheme of things in which, as a classicist, he was ab? sorbed. But always he secured that balance to which we have referred. His rocks ?re modulated away from sever ity by the presence of green thing?, and: the main elements of his design area those which are derived from noble trees. He is sylvan even when he is * monumental. And bow this classicist, ? this academician, could paint! If the j student of technique has any doubt of I that let him analyse the painting of j the wavelets in "The Rape of Europe," ? or look to the leafage in both pictures. ; Both In drawing and in color there was a. great deal that was "modern" in | Claude. These paintings have a serene ! beauty which, quite apart from ques? tions of technique, must make them en- ; chanting to the connoisseur. There are fourteen old paintings of ? the Madonna at the Ehri?d? gallery- It \ is a portentous number. One could ; hardly expect so large a group to be ; uniformly on the seme level, and we i are in nowise surprised at finding cer- ! tain cf the exhibits rather dull. But j the collection contains a sufficient ; number of really beautiful pictures. ? The Btssolo is a charming thing, ?nd ?o is the Jacopo del Se?aio. The ex- ? ample of Pietro da Messina is also! good to meet and there is an example ' of the early Pisan school of quit? un- | usual interest. One or two good pieces ? of Northern art are likewise shown,! notably a polished Uttl? panel of six- . teenth century Flemish origin. But | most fascinating of all is the "Madonna, ] Child and Angels," which we reproduce. The painting is by Andres Alovigi, | called "L'lngegno d'AssisL" The fig- i ures, placed beneath a swelling arch in this composition, are ingeniously, yet in ! simple fashion, grouped in gracious at- ; titudes. The color la sparkling and tells in quieter tones in the landscape which stretches beyond. Tb? refined, precise technique does not exclude a certain subtlety in expression. The ; i painting has genuine tenderness. Alene ; it ?i>u!d repay the visitor, but we j j thir.fc the whole exhibition, even with I its minor examples, le well worth see- . inf. Drawings Some Record? of European Architecture j In hi? exhibition of drawings at ths I Harlow gallery Mr. Kenneth Conant j addresses himself to lovers of archi? tecture in uncommonly lucid terms. j He has had an architectural training ! and this shows In his work. He knows ! how to express the bulk and character , ! of masonry and how to denn? details in such wise as to satisfy a builder. He has, In short, that sense of struc? ture which is precious beyond all else ! in drawings of this kind, the feeling : for architecture as architecture which secures picturesqueness almost, we : might say, by leaving picturesqueness ; to take care of itself. Mr. Conant's i impressions have been gathered in ; France, Italy and Spain, especially ! among the great churches of those ! countries. He has drswn them with 1 veritably uncanny ek:ll, using a firm ' sharp line which is nothing If not ac T curate. Brought together in a book. 1 either with or without text, they would ! form a kind of ga'lery of Euio?e?n '.monuments. A historian of archite??,-. tur? would find Mr. Conant an incorn ! parable illustrator. Incldentall . this exhibition raises : some pointed questions For example, can the connoisseur of architectural drawings eat his cake and have it, too?: i If he is to be given the truth, as Mr. j . Conant so unmistakably gives it to him. 1 must he be content to dispense with ! other artistic qualities T There is a; curious one-sidedness about this [ draftsman's work. It is such good work, bo far as it goes, and it is so successful in the rare art of preserving upon paper what we may call the archi? tectural rectitude of a building, that one very nearly forgets what Mr. Co ; nant misses. Sooner or later, however, | his omissions press upon our attention in such a manner that we cannot ig? noro them. Rejoicing in him archi? tecturally, w? are nevertheless a little disappointed in him as an artist. We alluded Just now to his "impressions.'* The term is not, perhaps, altogether exact. It connotes, ordinarily, s cer? tain tinetur? of personality, and there it must be confessed that Mr. Conant's drawings are not noticeably rich. He has the defect of his quality. That firs sharp line of his is accurate, as we have said, but it is also somewhat eolorless, somewhat akin to a mechan? ical process. He has an extremely s?lf-possesaed and even authoritative manner. He hasn't, on the other hand, a styl?. Or, if w? must eall this a sty fa, this stamp that he places upon all his drawings, It is an extremely conventional styl?. Be gives a?, ia d??d, records, tad though they ar? bat? ter than the records mads by th? cam? era they eon? perilously near to fall? tng lato th? mm? eatogory. W? ar? familiar with many ef th? moanmeats he has drawn and w? ?re ?truck by th? fact that he has not enveloped any of th?ra In th? French, Spanish or Italian atmosph?re in which they re spaotiv?ly belong. He draws ?very thing in the sam? dry tight. It Is partly a matter of method and partly, we suppose, a matter of temperament Mr. Conant was possibly ill advised ta ahawing more than ? huairsd ?/ bis 4fMrtaff* ?* IW, ?Q Asses m tk? samo ??cal?, ail don? in the ?ame tone The result Is unquestionably a certai monotony and a certain emphasising of the limitations as regard styl? at which w? have glanced. But we fear the' even a nor? restricted view ?of b;* ?anrk would have lad us to the sate? ?srcluaion. W? would still hav? fair m w? f**J now, that be need? to coin ?ate a greater elasticity, a gnate breadth. If temp?rament al?n? tvet? at the bottom of h*> art as it stand-? we should not fe?I very hopeful af hi* developing a ?rider scope; but nwthoc we repeat, is in a measure accountable and her?, surely, he bas possibilities before him which we hop? be will con? sider. They are such possibilities as we may realise if w? turn for a mo? ment to the work of an architecture draftsman like Muirhead Bone. He, too, like Mr. Conant, has a flair foi structure, for accuracy; bat h? If aware of the potentialities of line as line. It is a resource which can be carried to an extraordlnsry pitch of eloquence, and one way of reaching that piteh is the process of letting one's self go, drawing with greateT freedom and with a keener eye for the color, which is one of the prime ele? ments in the magic of architecture. Mr. Conant would seem to have hardly any sense of color at all?tr> have no feeling for "values." We have just one glimpse into his art, which suggests an appreciation of thos* modulations of tone which the dis? tribution of light and shade produces It is the sketch of a coaf-of-arms pr. the Canceller?a, which opens his cata logue. Therein, by some pas?ing ir" puis?, h? has been stirred to intro? duce a fairly black note. But else where, in drawing after drawing throughout the collection, he adhere; to an even key of gray which Is far from satisfactory. To see how serious is his neglect of values, the observer may examine more partieul'H" thf two drawings made at Dijon (Nob. 81 and 33), or the drawing of "Tuy From (Oentlnord on nnt pa*?) EXH.BffiON Russian Painting: Kingore Galleries ?tenrm ave. at sswtt C3 OM rncE view era flGCUttBCf* ?O?* TO .JANUARY MB / Established IW8 HEKBY 5GH1H.THEI5 CO.I Paintings Mezzotints and Prints Frames and Art Novelties 142 Fulton Street ?flint K??i or Hroiidwnj J I -?"I Exhibition of American Aquatints and Etchings by JOHN TAYLOR ARMS on view at Ackermann Galleries 10 East 4uth ?St until Dec. 31st ?-_,__J MILCH Gbflerl?, EXHIBITION OF PORTRAITS by ALBERT DEIKOKT SMITH December 27 to lanuanj 8 IW_West 57th Street T ouchstone ?Tit GALLERIES. 11 W. 47th ?St EXHIBITION PAINTINGS by Charles Sarka Decembtr 27 'o jemuarx 8 -1 The School of American Sculpture SOIiOV H. BORGLUM. Dir Now open for Student?. Day and night c!a??ea 9 East 69th Street, N. Y. 0. Phone 6? 5 Placa EXHIBITION EXTENDS to JAN. 2 Brooklyn Society of Etcher? J?h? Tarter Anna, Oar. See? re rttta Ave, N. T. City. BROOKLYN MUSEUM ?ajBS? favrtewnsj, B?kSym F'TYiore'? Studios, Inc. 24 ?CAST flST ST. Antiques. reprodurrioii? Italian wrought trou, mat ble, lead. Hone, etc Gar? dea furniture. re*?enebl* pritaa. Est??ale? greca. ?tea ?ST?. T. ?