Evening Star Newspaper, November 22, 1925, Page 77

ILLUSTRATED FEATURES Part 5—8 Pages MAGAZINE SECTION Fhe Sunday Sta FICTION VICTORIA N FABER the exhibit binyi's water STEVENSON. of Victor de Ku- colors at the N: tional Museum in the National Gallery of Art, joy, hate, love, anger greed and atitude, a well as many other enotions vepresented in symbolic pictures. They have been put to the test as to whether or not they convey the ideas vhich the artist had in mind. Per sons who have seen them declare that the pictures do register such emotions as they are intended to symboiize. The collection, known as “‘Symbolic Color Analysis Lie,” is probably the most striking ever exhibited in this gallery, which is under the direc- tion of Dr. William H. Holmes. These works attract attention he-ause they show the machinery behind human ae- tions From the fact that 1o persons shown In the pictures, one is realize that such emotions and slande which are u in the lowly, are egually picable in the mighty, and that qualities are beautiful, rezardles< of the circle in which they are To get the full * ming ¢ these pictures one must apply nimself with earnest study. but he need noi be an artist. Savagery today wails its sad- ness in weird sounds and its in strident tones. Irom such a legin were huilt even the masterpieces among the world’s musical compe- sitions which express their themes and motives of mirth. Sorrow. War, peace. triumph or defeat so obviously that those who can neither sing a note nor play a musical instrument under- stand the symbolism. Different colors also have Lecome vo universally asso- ciated with human charucteristics as invariably to suggest such qualities Though Victor Kubinyi has invented his own principles of sanbollsm, vet one who has ever given u thought to svmbolic pictures of anV kind finds he comes 1o a ready undersiandin: of new art. Seelng them reiinds one of the oft-quoted verse on travel *He who would bring home the wealth of the Indies must carry the wealth of the Indies with him.” So to nauler. riand these orderly, elusive, visionary yet sincerely executed water colors mirroring the emotions one must get the interpreting nucleus: out of his own experiences with both his good and bad qualities to see just why fealousy. for instance. looks as it does in color and form Tt is easily seen that what might have been a beauti- ful plcture is marred by briars and weeds of covetousness. So peace of mind is spoiled by unhappiness at the uccess of others. If in understand- inz one realizes the hideousness of ealousy, and if the image lives in his mind as a specter. he might over- come such a weakness if he posscsses it. If <o, the purpose of the picture will have struck its mark Fortunately the artist has sup Jlied his copyrighted poetical analysis vith each portraiture to help in the understanding of the pictur That which accompanies jealousy reads t the fanse of fear and envs arte incene content is ma © an effect that has no sense nor are 1ade to as greed found hors red PR YWITH = selection of 3¢ life phases to chose frum, one may do his mental shopping in finding most any commodity of emotion hé desires. He free to carry away in the market hasket of his mind uch sweet and Inscions foods as purity and joy for Aaily nou hment On the other hand, he may see such poisonous sub- stances as anger and suspicion in their real guises. In the poetic verse which is furnished as a key to under- standing of “Anger” is the expression It tears and rins snd screams And spews and_vells lixe miac Yt anger can at best he naugnt Than by comparison the devils & Indeed, there is sumething satanic n this conglomerate painting. Its frregular lines convey an idea of un- contrel which smacks of venom. Its hlack. reds and greens suggest con vulsive forces of nature rendered destructive by the vellow lines of hitterness and fire The picture of “Hypocrisy™ Is pleas- ing to look upon, for the aim of hy- pocrisy is always to appear in lovell ress. This conventional desizn of hlended shades of gra and pinks is samewhat like a beautiful open shell of the bivalve order. It is half pink »nd half aray, with the gray on the pink background and the pink on a gra background, so that the pre- dominating color of the picture is not apparent. It ix as uncertain is h pocrisy, which does not openly de- clare ftself, but is two-faced and sails nnder two colors, The Interpreting verse reads A_<orrs wicht in Fhich miandly Yes whilst mean. It would he presumption for any person dictatorially to interpret any one of these pictures to another per son, vet suggestions as to the mean- ing of an art so entirely new might be helpful. In the picture “Suspicion” i1 seems that the regular red blotch in the center shows an ugzly germ which is the bezinning of suspicion. Cloaked by the ugly darkness of ig- norance. it dares to spread its tenta cles in all directions, even into the phases of life which would be beauti ful if unaffected hy its Insidiousness. \pparently, however, it meets its es and loses ftself in the gold- en light of truth. The accompanying verse of the artist zives the following analysis of that frailty soulish fiend Just liice the mean hyena. < on will invent and svread Foul thought and wallow in the mud of its own_ creation And but foo often find ess. silly dupes. Ao a host of thought- T HE picture of “Greed” is indeed a representation of that emotion in term of color and form. An octopus- like creature is zrasninz and obtain- ing everything within its reach, but in so doing is ensnaring ltself by what it gets within its possession. The ugly creature of a low form of life is not able to spoil what it pro- cures, but in its avarice Is over. whelmed and rendered helpless by what it obtains. Shylock experfenced this truth. for had he obtained his pound of flesh, the goal of his greed, | he would have met his death the artist’s word picture of greed: 71 wants it ail o irecd the gy Aand Wi “haught attain bevond Vanity seems to react with a little humor, for the plcture shows some- thing in a concrete form which is plainly of no purpose in the world, A wobbly creation rising from mud, growing more purposeless as it pro- ceeds upward Its senseless head has not the comprehending faculties to keep out of a shadowy maze. The artist’s lines read: Attired in illy chosen. garish rage. B e Lo he ahoer glofy. ality {s naught but scatteres The attitude of hundreds of persons who have looked at these pictures is evidence that human nature does, ‘even at the most unexpected time, such as during sight-seeing, take tim 1o look Inward. Many persons have returned to enjoy the spell of these pictures, and to almost every visitor v In self-suffocation Dio wn e n dust. Art Group in N WASHINGTON, D. (., SUNDAY MORNING, NOVEMBER 99 1925. AND HUMOR Public Attention Has Been Attracted to Colleétion Known as “Symbolic Color Analysis of Life"—Ugly and Beautiful Qualities Are Contrasted in Work of Artist. Without Showing Persons in the Pictures—Comparison With Musical Com- positions—Poetical Analysis Employed to Aid in Appreciation of the Life Phases Which Have Been Chosen. Painter of the human emotions | Kubiny{'s “DEVOTION ” one or more of the water colors has some special appeal. It was interesting to hear one woman, who, in spite of herself, part- ly grasped the fdea of the pictures which she saw by only a hasty and casual glance in a “once over.” de scribe the whole collection. She said to the two children who accompanied her, “Oh, that's_that cubist futurist art. That's : mbition Liverything is going up!” The visitor wi right in the mean- ing of the picture “Ambition.” That portraiture does show a building up in its various columns-and growing, tree-like figures. Where the endeavor of ambition proceeds or has proceeded in orderly progress, as in the tree, obelisk or column which rises step by step in logical growth, the mm is achieved or shows probable attain ment. Where, however, the column is built of large stones and small ones plled with no sense of fitness upon each other and with no sincerity of purpose the construction shows that it cannot be secure and that its com- pletion is impossible. Its verse reads: Up higher and higher to the top of all am Bition svars. Essentially thouch It's bound to fail fine and noble | Tf uncontrolled by eense and equanimity. “Determination,” which has its place in the exhibit beside “Ambi. tion,” reveals a straight white shaft which in seeking its goal rises so well directed in its course that it never slips nor sways out of the plumb line | of its axis. It pierces its way through cross-trenches of brown and black discouragements and obstacles which beset its progress, and even when it nears its object, is assailed by a force akin to tragedy or death in the light- ninglike flash cf color. but overcom- ing even this, It conquers. Victor poetical transcription re- veals determination in the following text: But lichtls leaning on its ally hope Datermination pushing through Will conauor ignorance, fear and pain Reaching its koal in spite of handicaps. * ok ok ok RHAPS the one experience of fright which is most common to the greatest number of people is the shudder at the flash of lightning. In this picture exhibit “Fright” may re- call such mental terror or may bring to remembrance the kind of fright one has felt when passing through a darkness where he supposed danger lurked. This emotion Is pictured as something which has a very small beginning and starts itself wich no apparent causé, yet grows and re- fuses to be curbed until fina™- it bursts itself for lack of control. Its analysis reads: Indifference and weakness, perch; ‘The lack of thoughtful concent Makes one’s repose an easy prey Of what in fact is but a shadow. “Fear” is presented in the painting which shows a scene of pleasing colors, but its serenity is desiroved by ugly dash-=, shedows and murk mists susgestive of how one's peace of mind ey be wreeked by fear even ion, though it be groundless and more substance than shadows. rtist expresses this idea: Lite's beautiful and blissful harmony Is rudely and most needies: indee ] Permitted to be iled And marred by foolish dom fear of no The “Hope" is depicted by a well halane ed. gracefully formed. winged desizn for hope ever soars and falls as if on wings. It takes its course through wavelike colorings of green. hiue, pur- | ples of doubt. reds of trouble or dan- 1 ®er, and on throuch the varions vel low of realization. The analyvsis which the artist has supplied reads Though roushly tossed by o " owne Beneath the” crimson cloud of Tuck Hope hravels travels on Led by staunch belief in lite's aueer life Any one who stops to consider what | life would be, deprived of faith, will | more greatly appreciate the quality | of its blessing. The picture of this grace shows a plant springing into iTeing from a small start, but grow-! ing until its verdure becomes a vital | torce and flourighes almost flamelike, | wrapping itself round a white column ] its object. and reaching ever to the | ! fulfillment of its endeavor. The sun, | with its warming rays, shines with its life-sustaining powers on the plant and conveys the idea that all faith looks up for that strength which keeps it alive. Says the artist: Relying on its strength in stormy seas, Faith stands alone Midst fears and doubts and dangers jts unseifish desizn apite of all Commanding silent ‘tory “Remorse” Is often looked upon as | utter despair because of the despera tion one feels when he accuses him-| self, but he who absorbs the meaninz | lof the plcture of “Remorse” may | realize that such and peace a frame of mind | may be turned to good. It may serve | |as the first step in righting wrong. ! suggestion of this plcture may be that iof a thought shaft starting in the | lower part of the painting and pro | ceeding through an inky hackground {to an irregular field of brown. It passes through the darkness of mis- | | understanding and ignorance into al | field of realization and understanding. | The pricks and daggerlike thrusts of | regret and sorrow which assail the, {mind seem almost destructive. but inl | the bright gleam of life which rises) \ from the darkness of despalr there | is a suggestion that the wrong which has been the source of the trouble has been made right. The painting | seems to depict the kind of remorse | | which led the Prodigal Son back to| i his father instead of dragging him! { down for ever to the life of the swine- | herd. Victor Kubinyi's poetical analy-| sis confirms such a suggestion: ] edicine i wrans. { But snowld “he uscd indeed. { An overdose is apt to do more harm than | rond. ir i | The image of “Joy.' which a beautiful conventional design in| Shades of tose, s said by many to in moderation. for PROTO S ey JoHA MDELLER “.SLANDER.” carry its message in plain terms. It is like a rosette made of the blending of its many parts, and resembles a flower. No ultrabrilliant coloring sug. gests dissipation, nor is any part of the picture accentuated to depict joy as a spasmodic force, but the idea is rather conveved that joy is a con- sistent, bzlanced, happy ‘state of mind. Furnished with this picture is a poetic explanation— The flower of life. Indeed. its crowning zlory Is joy. blending one’s fun with dignits. * The versified analysis of *Birth" does much to explain the picture. Rirth valiantly conauerin Restows Tife's ampie T'non 4 soul new Giving 1s me. fight. Life comes into being in a flowerlike even death Jove and ‘sorrows revealed, aze thue: “Be brave and (S YVANITY ” existence of many colors in the center of the picture. Below this part of painting the various forms and & seem to suggest the traditio and conditions of ancestry which af fect the new creation. Death is pictured as the passing on of all the facultles of life through an opening into a rest which follows greater fulness. death J CONCERR " in its accompanying lines: mony leath offering etermity Its secret door waiting “Confusion™ {a so all faculties of i s gently Dose or us alar. obvlous that The it hardly needs a caption | ns Reminder of how it When as the savinz el sixes and at sevens. and is described looke goes. one finds o, At Speed an especially the up-to-date artist’'s mind and friendly mental re action amidst the rush of the world today. The whirring wheels suggest the airplane. the motor the rail- road or the machinery of the factory A path of spirals around a rod which might be called conceptin strikes a chord of car, purpose reminds one of the tendency in speed to rush on and vet take an unnecessarily long time to reach the objective point, be. cause energy is not directed point Dlank at destination. By thoughtle and wasted motion one is often said to travel in circles like the spiral wire in the picture. instead of going straight ahead With crim_determination. Misled by idie hope. Sveed rushes on ahead in all directions. MAKing & sorre mess af peaceral hfe Pursuing madly goals it does not see. in “Guilt” is a monstrous specter de- void of all beauty, a hulk in browns and blacks in contrast to the light which might depict freedom or inno- cence. According to the author- Guilt will pull you down if you will let it Don't keep it compans. Compel it to quick flicht For guilt will fiee at sight of noble deeds * % ok ok ¢QLANDER'S” picture shows a black clawlike hand reaching out of fires of hatred and deceit, up into the light. It strives to contami nate anvthing it touches and even dares to aim at that which is flawless ! and beautiful. Beauty is, however, ac- j centuated by contrast with its vile as- sailant, slander. Victor Kubinyi ex- presses that thought— { From flaming depths of hatred and deceit Vile slander will outstretch its murky paw To ‘wantonly besmirch vour reputation Sometimes alas destroying what ia weak More often "though. fo " emphasize Of that which it set out to tear to threads. the plosion of gun or cannon that its pic- turization in this collection is unique. | Its study brings home the idea that 1] i } War is so often symbolized by e: | | | | the effects of such conflicts are wide- | spread, that war mars the whole ‘\\'Ul’ld. What might have heen a se- {rene picture of peaceful. blue back- ground, unclouded by natural disturb- | ances, is spoiled because it is bespat- tered with the splotches of the red of ‘Moodshed and with the white mists of misunderstanding and untruthfulness. The boundless destruction and sorrow | caused by war may be read in the ever-widening circles in the picture, for they carry those hateful conse: Hate ‘mbolized by the serpent <o bent on destruction that it en- |tangles its own wriggly being witn | such contortions that it cannot right itself to spring at others, but actually out its own life blood in ' 4 spits | quences far from the place where dis lied | cord started. Its description reads:,’ Naval | | | | | | | | i | { who ational Gallery Strikingly Registers Emotion venomous reads efforts. Its description In ite blind r Hatred. the ugls brute Wil aim a0 hard That 1t hures but itssl Scream’ fairly rends the air in its wild, pointed desicn and casts a <hadow of itself which seems to linger Its artist writes 3 Teream' will heart Leaving ber A1k or atabbing fiech ender the sncws of oncs d the ugls stench of fear There is much in the portraiture of wisdom for the contemplative mind to grasp, but the pyramid in the picture is of absorbing interest. Who i= there has visited these enduring mounds of Exypt who has not felt the cret knowledge which thev hold, and who has not felt his own inabil understand even that which they have presented to the world through ages? Wisdom's interpretation reads: In mystic disn Uhon he el Wiedom contenty the Lt reposing. Restine perpetuity Praver hands in supplication. of the desizn scoms ost 1o lift its he foundation xleam of red hich may mean that courage comes vhen prayer is first uttered. This re ous supplication see in trength an 1ally rise through k colors of despair or through ti zrace of the spiritual, heavenlike blue ‘nd on to the attainment of its pet tions in the glory of golden yellow he idea of the picture is describe partially by its author The depths of fear and sorrow and of care Arc pierced “and banished by an ardent nrave That seeks shows 1d finds life's greatest pleasure * HE painting of “Inspiration” has a charm all its own. The fore with its waves and serolls sirikes one as the fleld where ideas are born, and from fts hidden ores a tiny spark starts up and flares into a flame of genius encouraged by favor able circumstances. The analysis inspiration by the artist is poetically imparted in his description Tust ax a tiny spark May set ablaze a gorgeous edific Soimapiration mignt. 1f caught betimes A dullard into genius turn In “Symphony” one feels that the ipes of music are all in harmony. for ny wires show that thev are atun one to the other. Beautiful feather like clouds indicate the very peals of Love is looked upon from so many iifferent aspects that perhaps that picture fs susceptible of more differen ndings than any other in the 1. Love wppears to be spring spontaneously from a small be in a zarden plot of other good ns. but it grows with such sud ienness and vigor that it eclipses them . It spreads almost like fire. Its explanatory poem is helpful burning flan The AIl coneuming. lasding naisht Love. lite a1 myeters Will make or bre k. o handle it with care. Gratitude” has rafture and is cathedral arch hung with an ever urning light. It carries the poem The nohlest and the lottiest of all our sen tments Which ousht to live in our hearts srom ‘morn_ 111 night T paught but gratitude. 1f truly practiced n make s realize ife's wondrols beautics God's eternal Tove Aftér studving the imagery of hu man faults and virtues in color and form. one is the more ready to reali the splendor in meaning of the spiritual interpretation of the collec tion. God is symbolized by the great lizht which pours itself out, dispelling darkness and permeating the most sc cret places, yet with no flamelike o consuming property. The true mean. ing is personal with each individual hut the picture recalls the words o the canticle. “To give light to t-em that sit in darkness and in the shadow of death and to guide our feet in the way f In Browning's comment on the step in art hetween that of the Greek sculp tors, who showed only the physical and the work of the early Italian painters. who produced at first crude canvases depicting qualities of soul in portraits of men and women. he de- clared that the first of the new art Deat the last of the old. In this new art of today, where emotions and no versons are pictured, Browning's thought is accentuated Bring the invisible full into play Let'the Visible £0 0 the doge, "what matters® made 1zzestive gf a striking ® that Victor de Kubinyi, who was born in Hunzary of noble parents, but who has lived in America for 20 years, pro. duced these pictures at various times Ly concentration upon the various emotions. Drawn at first hurriedly, they were later carefully executed in colors. Though the author has never received instruction in art, critics pro nounce his work as that of an artist They praise his colors and technique (Copsright. 1925.) Next Eclipse. THL' mext tetal solar eclipse will be in Sumatra next January, and already astronomers from Swarth- more College, the United States Observatory and the Mount Wilson Observatory have sailed to ob- | serve it, but before many years have elapsed people in the Northeastern part of the United States will again have an opportunity of witnessing this rare phenomenon. On August 3, 1932, a total eclipse will occur and pass through parts of Vermont, New Hampshire and Maine. This eclipse will start near the North Pole, and the path of totality will enter the country in northern Vermont, and will leave across the Atlantic Ocean between Portland, Me.. and Ports- mouth, N. H. As this will occur about 3:30 in the afternoon, the chances for clear weather should be fairly good. Value of Insulin. HAT the continued use of insulin may really cure and not just al lay diabetes by giving the overstrained glands a long rest is the opinion of Dr. F. G. Banting, who first extracted insulin from the pancreatic glands of nimals and made it available for usc by diabetic patients. ‘Regardless of the severity of the disease,” said Dr. Banting, “all pa- tients may now be maintained sugar free. Since this is possible, it is to he strongly advocated, for we have abun- | dant evidence that there is a regenera- tion of the islet cells of the pancreatic glands when the strain thrown upon them by high blood sugar is relleved. In some moderately severe cases the carbohydrate tolerance has increased sufficiently so that insulin is no longer necessary."” The World's Rubber. A BOUT 415.000 long tons of rubber were produced in the world last vear and the United States used 77 per cent of it, compared with 45 pe: cent in 1905, when world production its approximated 60,000 long tons.