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THE SUN, SUNDAY, MAY 16, .1915.
WHAT IS HAPPENING IN THE WORLD OF ART 3 ONK of Miss Clara Ttce's draw ings wns reproduced In Rogue nd after such a pronounced success as that this artist found It easy to secure a gallery for a ono man show of her works. The Jjallery is Bruno's Garret, on Wash ington Square South, and tho works are to remain on view until May 20. All of tho works have the air of having appeared In Hogxic or being Just about to. nppear in Itoyuc. That Is to say, there is a faint, scarcely locatabln,- barely suggested naughti ness about eaclj and every one. Miss Tlco may retort "Honl solt," but If shs does sho really will be being too quick with her retorts, for I for my part, like the police, find the sum total of morality perfectly satisfactory when iter thorough search the suspected evil Is not detected. One takes the alarm on first turn- Inar Into the garret, for the drawings to confront one are some scenes from the "Arabian Nights," scenes with "negxes," anil "negre," since the suc cess of the Itallet ltusse, no longer conveys the Idea of comfortable, heavily resectable and safe servitude ns did the word "negro" In the Thackeray novels, but on the contrary suggests all sorts of wild and bac channltan revels with all sorts of dire ful punishments. There Is, however, nothing repre hensible In the drawings-, of that I feel sure. The extreme youth and fragility of tluglrl heroines In Miss TIce's Arabian Nights wl'.l disturb the timid, but there Is nothing Intrinsi cally wrung In the physical fragility ir 1 I Photo Ilr A Juicy. Portrait of Master Robert Baruch. son of Dr. Herman B. Baruch, painted by Mme. de Francheville. heroines that one must concede after i .i sober second thought. What worries us, no doubt, Is the undiluted I-'renchlncss nf the atmos phere. So much trunKuer-s we nre un used to These slender young creat ures that Miss 3'Ice has drawn with three strokes of tapld pen nro young unlmals likely to do anything, we wnrccly know what. They don't do It, of course, but a naturalness so un bridled Is apt to frighten the clllzens Of the land of the free. ' Mss Tlco Ik cIcmt us on aitlsl, but not Wfiilly energetic. She has com mano it good line, but sho belongs to the school flint refuses to lake the trouble to draw hnnds nnd feet. Hands In! fpi ,r . , v ' n" lint tlfv i v I i . )H a bud A relief, by Sara Morris Greene. In the Exhibition at Gorham's. sign when artists systematically shirk the responsibility of drawing them. She has acquired a few tricks from Heardsley, a few from Whistler and some, of course, from Bakst. There seems to be no reason why she should not settle down to the study of feet, the proportions of the human tlgure and all the other studies that assist an artist to express himself completely. At present Miss Tlce ap pears to tinkle upon faint strings. In a studio and among friends every one will Bay, "Yes, that's pretty," but out In the great world a faint echo of Beardsley will have slight chance in the competition for fame with the real Heardsley, who still lives as far as the great world Is concerned. An exhibition of sculpture by American women occupies the Gorham Gallery. In all thoro nro seventy pieces, and most of the best known women jculptorn of the country arc represented. These exhibitions by feminine con tributors are an annual feature of this gallery, and as Mr. Purdy, the direc tor, conducts them with a fine catho licity of taste and freedom from blis they are more apt than not to con tain piquant surprises. Nothing Is irtore pleasant than to happen upon merit among newcomers, and In these annual Mayttme exhibitions the new comer nlways has u chance. This year none of the new people stagger us with ability, but that, no doubt, Is because of the war. The txtrnordlnary distractions nnd wor- ' rles of this hard winter operated nvore , severely upon young minds than upon ' middle aged ones, which, If equally 1 d'sbarred from flights of gnlus In such a season, at least have solid hahlts to rest upon. Two of the pieces that nre ns fresh In style as any nre by Miss Margaret Hnnrd ond Mrs. Benjamin Guinness. Mlss Hoard's model for a memorial figure ln marble has considerable im prcsslvcness nnd the long lines nf the drnperlfH have been given with both naturalness und originality, one al most suspects Miss Hoard nf having stiflied with some one who studied with t.egros, so nearly does she ap proach the mnnnfr of the young ICng llrh school. The hands of her figure nro not so overwhelmingly beautiful as they might be, but that passes as prlmltlvism In thiso days. Mrs. Gulnness's figure Is n mere sketch, exhibited, I was told, without (it know'i-dge, having b-en discover I ui day uy Mr, Purd) .n Mm Wiblnin Astor Chanler's studio. For vitality, rhythm and general liveliness It far excels all the other sculptures In tho gallery, and these nre the qualities infest appreciated in what Is called "modern work." It Is, of course, nothing more than a sketch. It will not bear scrutiny from every viewpoint, for the feet are both placed so much to one side that the "balance" of tho tlgure Is de stroyed. It will also lie quite evident, I fear. In the photograph, that the thigh bones irn too long for purists on form, and the same might be sa'd by the critical of the upper bones: of the arms. The lines, however, ns lines, nre everywhere gcod, and the construc tion of the torso is so well understood and the attachment of the head to It so well mnnnged that one can only regret that this artist 'trees not give her entire energy to art. The "con struction of n torso" Is not a wonder ful achievement even In these days of lax workmanship, nnd It Is only mentioned lieenuse 'Mrs. Guinness docs much more. She hns the most es sential quality of nil, the faculty of interesting. Although this small figure In plaster, full of obvious faults, Is surrounded by numbers of highly finished and faultlessly proportioned work, It nevertheless takes precedence over Its neighbors because It Is a more Intense expression of life. Mrs. Sara Morris Greene Is repre sented by a panel with figures In deep relief, a bacchante nnd a youth. The fnces nre full nf life, nnd the boy of this composition hns a gasping Inter est In the tvicchante's frolic that Is almost Florentine. Olga Popolf Muller shows an uncon ventional "Breton Group," F.leanor Mortfmcr a graceful nnd vivacious sketch of a girl's head. Kugenn F Shonnard a decoration bird for n gate I post, nnd Frances Grimes n Blnsh ' lleldlan bas-relief, which was recently 'nHtnlled In tho rhlmticpl-eo of the 'Washington Irving High School. If nrtlsts only were to rend this I column I could permit myself a lavish use of superlatives when speaking of l Gustavo Verbeek's tnonotye.s now on exhibition In the Goupll Galleries I for artists know what monotypes tire and the peculiar limitations of them, and artists are less surprised than laymen at the use of superlatives uimn tiny works of art such ns these nre. Superlatives are nlwnys allowed to pass by artists when difficulties hnve been overcomo, ami tho difficulties of monotyplng have leen w covered ip by Verlieek that even must artists who venture Into the Goupll show will con clude that monotyplng must bo the easiest thing In the world, for Ver beek. Who works apparently in the nvMtt reckless anil careless fawhion, has achieved a long list of undeniable mic ccsess. For my part I confess I havo never seen morn clever mnnotypew than these. As a result the most skilful artists only half express themselves In this medium and there Is something blurred nnd compromised in the Im pression. Of couilioi many artists have many methods of painting the colors ujKin tho plate, but usually tho bristles of the brush makv scratchy lines In the color, Just ns when artlstti paint on glass. These scratchy lines i give unforeseen nnd unwished for re sultfl to mil-it urtlsts, but not to Vcr heek. Tho scrJtchy line In the color he ox. i nggcrntes at will, nnd he compels it to express an Idea, Instead of living hnm-pi-red by It. In the skies It makes for milled lightness and transparency, nnd In tho earth, when tho nrtlsi wishes It, It Indicates the reeds nf the marsh ond the winds blowing upon them. When this quality Is not de sired VYrlM-ok manages to suppress It entirely, and the colors are as smooth and unruffled as m a pastel. Kverythlng about these impres sions give the Idea of unerring dex terity, a dexterity that Is practically Japanese. The color Is charming, the I compositions sure, and the landscape 1 reeling rare. 'I he subjects, It is true, lire rather slight, but the perfection of the workmanship puts them upon a level of ImiMirfunce. Students who will bo led by this exhibition Into experiments with mon otypes should be warned In advance, to prevent unduo discouragement later, that Mr. Verbeek did not ucqulro his skill over night. The fact Is ho Is n painter of ex perience, whoso woik has always been admired where It has been known for its technical excellences, nnd ln particular for Its brilliant color nnd brushwork, Tho amazing breadth of v(w displayed In Mime of these three by four Inch monotype con d mil have been acquired in a great denl of practice upon n larger scale. "Private View Bay," writes our London t-orrcsiondent, nt tno 117th exhibition of tho Itoynl Academy, brought together the usual crowd of celebrities, nnd others, who seemed, an usual, to bo quite an much Inter ested In ono another as In the l,92o works of art which they had been In vited to Inspect. Truth to nay, this year's exhibition In fnlrly dull. It 1m, however, strange and somewhat rufrcshing to bo able to say that what after a first visit leaven the most vivid Impression upon the mind 1h a piece, of sculpture n distinctly rare occurrence nt -Hurling-ton House. Tho artist, however, Is not one of tho regular eontrlbtors to tho Uoynl Academy, nor Is ho nn Kngllshmnn. Thu flguro Is u marble stnturi called "Premier iMntln," by Hgide Homlaii, a Belgian Bculptor, and has the place of honor In the lecture room. The figure Is wonder fully modelled and of Kreat strength, suggesting nt onco the Inline? of Ilodln. It Is a nude femalo flguro, In a Kitting position, carved out of n lingo block of marble, which forms the seat and half the background of tho piece. Tl In tho gallery makes everything clfs look almost insignlll- cant. i ne naturally expected to see a khaki academy, and at least some fifty or sixty works havo been In spired, or perhaps It would bo more correct to say suggested, by the war. Tho best of these Is perhaps a large painting called "Wounded; London Hospital, 191.1," by John Imvrv. ' A. It. A. a picture of striking merit showing a largo ward In tho London Hospital. The sun streams In through , the windows, nnd In the long row of 1 beds llo soldiers bandaged but making the best of It. In tho bntkground a j man In khaki Is leaving the ward on crutches, one leg having been am- putnted. In tho foreground n nurso Is sponging the foreirm of n young , soldier In Scottish uniform. ln nil the war pictures there Is not one expressive of the hatred or loath ing caused hy tho atrocities -of the Germans In Belgium and Poland, or Indeed nnywhere else, for the picture called "The Strongest" hy Fortuiilno Mntnula can hnrd'y be described as coming under this heading. This shows a young Belgian mother walk ing duwn the street, presumably In lini.'-sels. leading her small bo of about fi by the hand. Meeting them Is a tall, stalwart German cavalry ' man, dismounted; the young Belgian woman Is looking straight ahead, tho small boy Is turning his -head over his shiiu'der nnd kliig out h's tongue at tho German toMlcr, Another well done picture Is by I'go Mnlanla, called ".Somewhere ln Frit nre." This shows a Itrltlsh Tommy seated on a bench beside n little French girl, to whom he Is nfTerlng n German helmet which ' he has Just tnken from -his knapsack. The Tommy Is milling broadly, but 1 Die little French ir 1 i-l Is shrinlilnir In ! evident disgust from the emblem of Prussian militarism, other pictures dealing with the war show the in terior of Ypres Cathedral after the bombardment; "War," expressed by a1 bomb bursting In n room: "German , Culture,' lepresented by n blue dining room w'.ih i -iff (i in " n r "in i hot ' a TV Imttles: "The Tragedy of Ilhelms." showing Clcrmnn soldiers carrying the wvunded from the cathedral, burning under shell lire, while n priest exhorts to calmness the outraged Trench sol diers and people standing around. Other pictures have been Inspired by the refugees from Belgium; one vig orous painting of n group of stricken women and children Is entitled "Ger many's H.ittlti Kront." Tho most tn.ked of war picture Is easily tho worst. This Is Mr. Oliver's large pic ture of tlw meeting of King George and King Albert. This la even more unconvincing thin most "royal paint ings." King George, In khaki, Is rep resented Just stepping out of a motor car; the King of lielglum, In a dark blue uniform, stands Just In front of him with a single attendant at tho s.tlutc Just behind htm. In the middle background stands the Prince of Wales in khaki, with an olfl ccr in nttendanco upon him. Two or three Kngllsh olllcers are also In at tendance on King George. Une sus pects that the snapshot which might have been taken of the scene would have been infinitely fuller of life. The cleverest thing In the picture Is the U'e majA of tho motor car. lly put Uig King George on the step Just be fore he descends to tho paved roadway Monotype, by Gustave Verbeek. In nn Exhibition in the Goupil Gallery the courteous nrtNt snccotds In con cealing the very great difference In the stature of the two mnnarchs. There is a conslil r.ible number nf pictures of naval warfare. The "Lion" Memorial figure by Margaret Hoard. In the Exhibition at Gorham's. appears In several sometimes In her pride, sometimes In her Injured state. "The llattle of tho Falkland" and the sinking Blucher aro both painted by Norman Wilkinson: tho Carmanla en gaged with tho "Cap Trafalgar Off Trinidad," by Willie, and "The Aus tralian Fleet Arriving nt Sydney Head," by Spcncc, which has been pre sented to tho King by tho citizens of Hydney, are other naval picture Which attracted attention. The most attractive painting in tho exhibition Is a mall landscape by John Sargent, It A., entitled "Master and Pupils," showing a small group of an artist nt his easel, with his pupils around him: this picture nan all the charm of Sargent nt his best. This great artist, however, has not been so successful in n largo portrait of Lord Curzon ns president of tho Hoyal Geo graphical Society, and painted for the sov-lety, A better portrait, by Sargent, is one of V, .!. H, Chesterton, Ksq librarian to the University of Cam bridge, t'ntll ho recently promised to paint nnothcr portrait for charity at the price of 10,000 guineas Sargent had declared that he would never paint n portrait again: so these two portraits have probably been painted some little while. J. J. Shannon Is represented by some ohnrmlns- portraits In bis best stvle, to which with uthtr paintings of Intere.rt one may return nfter another visit. ART NOTES AND COMMENT. TUB following autograph letter by Bernard Shaw Is to b sold to morrow at Anderson's; In the Adrian Jollno sale. Evidently Mr. Shaw himself had the Impression that ho wan writing ln the most matter of fact nnd srdato style. Nevertheless tho render will find a few of tho usual fireworks: "11 August, 189!, IUsi.EMr.nB, Surtey. "I nm completely disabled from med dling In this question of tho decora tion of St. Paul's, because I have not seen It, being laid up here with a bad foot. "Your petition would, ns far as I can Judge, be Improved by tho omt3 Mon of tho third paragraph. In tho Hist place, 'the spirit of devotion' Is a point on which a deun muy bo pre sumed thowever conventionally) to lie at bast as safu an authority us a body of art students, mustly heathens, in the second plnco, It discredits your criticism by suggesting a misunder standing of Wron. "Itoughly rpenklng, pre-Baphaellto art Is devotional and sentimental; Itenatssjiico nit, mngnlllcent and In tellectual. Wo have had In this cen tury u strong reaction from Benals wince art to pru-IUphaelito art, headed by men who made It an article of that artistic lellglon to disparage Michael Angelo, to Ignore Bruiielleschl and to ridicule Wren. The real objection to Itlchmond Is that he sprang from this school and vviifi thereforn likely not to preserve the ih.iracter of St. Paul's but to belittle It expressly to bring It within the range of u tender, devo tional, lovingly lavish nnd rnlnuto scheme of color nnd design. "The objections of tho British public to such a scheme are quite worthless1 iiiiiiiiiiiiiiiiiiiiiiiHiiiii. JHBBI - - - - " "Flower Bearer," by Mrs. Benjamin Guinness. In the Exhibition at Gorham's. the average KnglUhmnn thinks color disreputable, und would support Itlch mnnd heartily If he put a starched col lar around the dome and a lull hat on 1 the ball. The art students miut not condescend to hit Ulchtnnnd with that stV;k they must stand for the artist against the Philistine nt all hazards. ! But ir Klchmond la really tryhig to maJkf a pre-naphnellte church out of a Palladium cathedral, then I think there should be an energetic protest. Just as there should txi If Urunelleschr San Lorenzo In Florence weir handed over to be decorated with MorrU wall jupers. Clearly, however, such u pro- test must not talk nhout 'desecration' und 'disturbing the spirit of devotion.' since the pre-Haphnelizlng of a I'al - Indium church means Introducing a plrlt of devotion Into the foreign at- mosphere of a temple of Intellectual mnirn!flrnro. "If Itlchmond is not doing this, nnd i ha cl,-v' nml nddre-.s on th- "am has frankly abandoned the old ven-' ,oi,' , w"8, K,vcn ,,y ltf luNo r ,n delta of bis school iiiMir.st tin. Itenais- sauce, then 1 think that the I Van and Chapter, hnvlng ch' sen their man, are bound to stick to him. When I lust snw the interior of St. Paul's Its nakedness was ghnstly: II procl limed Itself unfinished from every tilllar. If the British dread of color require that It b" left ns It was then In point of architecture, then the lighting of Mirt ,'ll orr.li .t h. fiinnut..iflnn - at,... .1.1 be altered, or else the whole nfT.i't handed over to Messrs. Gllbey to store their wines In. that the more fact that Ilichmond's liitmuu n sSS work lias raised nn outcry rali presumption against It In my Tho presumption against ltlcli oa a disciple of th Twelfth Century contra Wren nchon! In much mor" sl'rlous. and Mr. D. S. MacColl may be right In the opposition ho bases on that clrcilllistance. T e.in h.iv nn mnri l until I seo the work; but If I dK-ip- prove of It when I do see It, t can Hardly expect the Dean and Chapter to prefer my tnste to that of Sir Will- lam Blake Blchmnnd, it. A. What cm. they do but select an accredited ex- pert nnd leave the matter In his ! hnnds? "Of course it Is a monstrous thing , thnt our architectural monuments should be handed over to tho ccclcsl- j astlcal staff to do an they plwise i with; tho recent treatment of the west front of Peterborough has Im pressed that on most of us painfully enough; but while the power and nil Its responsibilities reuuln with them, I confess 1 ennnot Seo what better they ran do than engage some artist whose eminence hns been of ficially recognlzid nnd let him do his best. Yours faithfully, "G. ltEit.NAnn Shaw." Museums during tho past decide have been making long strides In edu cational work. Not tho least Impor tant evidence of tho need for such work has been the demand for direct Instruction. Many museums In nil sec tions of the country have promptly met this demand by the appointment of trnlned Instructors, whoso duties embrace tho exposition of the museum collections. On May 7 and S a ennferenco of these Instructors was held for the pur poso of ncquilntlng them with ono another and, moro particularly, of giv ing them an opportunity for the dis cussion of their work. The meetings wero held nt the Metropolitan Museum of Art. There were thirty-eight per sons In attendance, repn -witting the museums nf Boston, Brooklyn, Clil cago, Detroit, Hlmirn, Indianapolis, Jnmnlrn, Plain, Newarkv New York, Philadelphia, Southampton, L. I.: Stilton Island nnd Worcester Besides the Instructors, there wi ie repn x Uvea from colleg.s. un'vr Uf r other educational bodies, 1 ke t i i lie schinls and the School t I."asu i,f New York. The first .stsalon ni devote! 1 discussion on "Wnat Should V i Itcl.itlon of the Museum ', the o. j l gi.'" opened bj Prff. A. V. V.,Hrw l of Wdlcsley folicge; "TIik P.M m . , the Technical Schoo'(i 'o vci Mi..muh "Publicity In .'.Ishu3i Wr "Pencil by Mrs. Agnt !. y.iughan o' tl' Metropolitan MuWum ' Tll progrjnime of the scnruj .. . k"n was devoted to the prob'. ns ' relation between m4-tims ,ind ' l"lbHc sohools and qjetVjn- rec.ird I iu; the training of museum inrtruet ir ' A valuable paper on the :isimv j Pedagogical training was rncz bv Mrs l.llor f. Itlplcy of Boston, an n-f-'x nr ' sunerlntendent nf !'in n.ih'ie - i """ o: ln" -''WnrK Museum Th were followed by an nddte.s bv M Margaret Sawtelle f the v - MiiM-um on "The Art of Storv T. nir storlcs by M!s.s Marie Shedlo. k ,;ui trating this art. and a sfaMmnr M n.. t ti m .. . wi. .. i-. uitney or tne niani rr r I C!Uon 0,1 h!" method of telling Mr-en m.m.i, i nil to ciiiiuren. At both sessions much d'.-t?!fi-took place over the papers pre.'nit.1 I !,n,, nt ,,in Pnt n 'be ronferer.ci. s I V """""ce was appointed to tnke ; 1 'or formation of a permanen- r- iForla t Ion i F. W. DEVOE & C0.'S COMPLETE Outdoor Sketching Supplies for the Artist, Amateur and Teacher nre for sale nt rctnil Vt itorea In this cit vnnil tliroucli- out tho United Statr FLXTON AND WILLIAM STRtmu. Goupil & Co ' Exhibition of Color Monotype- llv Gustave Verbeek NOW Open 58 West 45th St. Poplar Street Studios Silrnillil l.lk-l'l. Itinti riilo It.-n' ' .Vur "lil llrl.lf 61 Poplar Street, Brooklyn Otlicv 'Phono SIS lnii THE ORG AS OF QUALITY TOWS During 1911 Till: SI V published a greater amount of Art advertising than mi other daili newspaper ex tant and of superior tudlity bettides. Hate for the Sim day Art page, M eents ptr agate, line. No solid borders ovvr three point, no heory got hie. nor bloc!: type Minimum apace, ten lines- v..