Evening Star Newspaper, October 26, 1930, Page 100

\© HE principat speaker at both the Founder's day exercises and the banquet on the same evening given by the president of the board of trusiees when the Camegie Insti- tute's twenty-ninth international exhibition of modern paintings (Pittsburgh) was opened was the Mexican Ambassador. At both times his theme was “Art and Education,” with special reference to development in his own country. To keep this appoiniment the Mexican Am- bassador flew f.cm Washington to Pittsburgh, arriving not five minutes before he had to speak. This not only evidenced his interest in the subject but presented an interesting contrast of the prcsent with the past, for the oldest art, perheps, on the American Continent was that produced in Mexico; yet Mexican artists today are :ecognized leaders in modern- fsm. ‘The fact that there has lately been brought to this country an exhibition of Mexican art, both ancient and modern, which is being circu- lated among Amecrican museums under the auspices of the American Federation of Arts and the patronage of Dwight Morrow and the Camegile Corporation of New York, pointed the remarks both of the Ambassador and other speakers. Hcmer Saint-Gaudens, director of the department of fine arts of the Carnegie Institute, who made the arrangements for the Mexican exhibition, gsing to Mexico for the purpose, in his afte:-dinner speech told of the strong nationalstic tendency toward art which both artists and artisans with whom he had contact manifested, recounting several instances of striking character. '‘HE international exhibition of modern paint- ing now on view in Pitisburgh includes works by artists of 15 nations. All of whom, however, except ourselves, are European. Mexico would have been reprcsented but for the fact that so comprehensive a collection of Mexican art was on view as an entity elsewhere. This exhi- bition comprises 427 paintings, of which 285 are by European artists and 152 by artists of the United States. Most of the a:tists are repre- sented not by one, but by three paintings, in order to give the public a better opportunity to acquaint itself with the individualistic methods and style of each. Mr. Saint-Gaudens, the director, named the artists to be represented, with the exception of those whose works were submitted to a jury of selection. It was his desire to include in the showing the represent- ative artists cf each ccuntry, artists living and producing today, and by so doing to create, as it were, an open forum for the free expression of modern thought in art, beneficial by way of interchange and interesting as an exposition of present-day t.ends. In the realization of these purposes he has been most successful and no one who is kecnly interested in this subject should fail to visit this great international exhi- bition in Pittsburgh if possible. Fortunately, and wisely, the pictures have been hung by nations and the works of each artist grouped. One enters first the galleries devoted to American art, which in this instance means the a.t of the United States. From these one naturally passes to the art of Great Britain, most closely akin; from Great Britain to France, from France to Austria, Scandinavia, Belgium, Italy, Germany, Spain, Poland, Czechoslovakia, Russia, Switzerland and Hol- land. It is a great and varied showing and one which brings to mind forcibly the fact that the art of painting has undergone and is under- going extraordinary changes in the present day. No longer is it primarily a representative art: no longer are the a:tists chiefly concerned with perpetuating beauty. But it is profoundly serious and it is impressively strong, and with these two splendid attributes there is no occa- sion for alarm. The first prize of $1,500 was awarded this year to a portarait of Mme. Picasso by Pablo Picasso, who attained to special fame more than years ago as not merely the chief exponent the inventor of cubism. For 10 years, from to 1917, Picasso did only abstract painting. he reverted to classicism. In recent years has confined his efforts to no single field critics have found him difficult to pigeon- hole. Of him it has been truly said that “at three equally interesting and strong. Less, perhaps, can be said in favor of the won the Lehman prise of $2,000 for the best purchasabie painting in the exhibition. The prize, of $500, was awarded to a French- s Henry Lee McFee, an American, carried off the first honorable mention and $300 and the Allegheny County Garden Club prise of $300 for a flower painting. To Maurice Sterne, American; Giuseppe Montanari, Italian, and Niles Spencer, American, other honorable men- tions were given. As the object in collecting this exhibition was manifes: the changes that have come over art of painting in the last 10 years, works are included in each section of oonservative, a8 well as extreme nature. In the American @alleries, of which there are five, for instance, there are paintings by Edward W. Redfield, Leopold Seyffert, Emil Carlsen, Thomas Dew- ing, Gari Melchers, Charles W. Hawtherne, THE SUNDAY: STAR, WASHINGTON, D. C., OCTOBER 26 1930 /\ AK A Al AND y LEILA MECHILIN TheCarnegielnstitute’s International Exhibition of Modern Paintings—DPlans for the Corcoran Biennial Exhibition. “Portrait of Mme. Picasso,” by Pablo Picasso of France, awarded first prize in the Carnegie Institute’s International Exhibition. Ernest L. Blumenschein, F. C. Frieseke, George Pearse Ennis, as well as Rockwell Kent, who has become quite classical of late; Glackens, McFee, Karfiol, Walkowitz, Sterne, Carroll, Luks, Niles Spencer, Kroll, Kenneth Hayes Miller, Sloane, Du Bois, Dasburg, Coleman, Burchfield, Hopper and others. A number of these artists have become familiar to Wash- ing'onians through the exhibition of their works at the Phillips Memorial Gallery. And mention should be made in this con- nection of the fact that the only Washington artist represented in the current International is Marjorie Phillips, who shows a typical flower painting, “Poppies.” It is sadly true that in this section, as well as in others, some of the conservatives are seen not at their best, so that their works appear weak, and thus lend strength to the opposition. In the British section sporting subjects by A. J. Munnings, meticulously painted, and landscapes by Sir David Cameron, the great etcher, to- gather with realistic figure studies by Laura Knight, make interesting contrast with the wdrks of such men as Augustus John, Dod Procter and Alan Beeton. In the French sec- tion there is a huge canvas, “The Funeral of Marshal Foch,” by Andre Mare, which would seem to have belonged to the salons of the 1890s, and so be far removed from the works shown with it by such men as Derain, Bon- nard, Matisse, Braque, Van Dongen, even Menard, Simon, Le Sidaner and Henri-Martin. In the Austrian, Belgian, Italian and Spanish sections there is evidence of an inclination on the part of certain well known artists to return to the ways of Holbein and Durer, to portray realistically, but through comvention. Such, for instance, are the portraits of Victor Ham- mer and Louis Buisseret, and the figures of Antonio Donghi—Austrian, Belgian and Italian, respectively. The German section is far less extreme than in the past, and much more interesting—very nationalistic. The Spanish section contains a superb group by Anglada, Spanish to the core. Poland comes forward this year with a charm- ing exhibit in which some excellent religious paintings are to be found—reverent as well as skillful in rendering. Czechoslovakia, likewise, for the first time seems to come to the fore; whereas Russia, Switzerland and Holland have all seemingly sunk to insignificance. This International Exhibition will continue on view in Pittsburgh through December 7, after which the European section will be shown successively in Cleveland and Chicago. It should come to Washington. JUST five weeks from today the Corcoran Gal- lery of Art will open to the public its twelfth blennial exhibition of contemporary American oil paintings. Tomorrow is the last day for the receipt of entry cards; November 10 is the last day on which paintings which have been entered will be received at the Cor- coran Gallery of Art. Prior to the opening of the Clark wing, when these exhibitions were in preparation, the Cor- coran Gallery of Art was closed to the public for from two to four weeks. Now, with the additional attraction of the Clark wing, this procedure is not followed, the picture galleries alone being closed. This closing will take place on November 6, a date which those having out- of-town visitors will do well to keep in mind. The jury of selection and award for this ex- hibition consists of Daniel Garber of Philadel- phia, chairman; Chiide Hassam and Leon Kroll of New York, Charles Hopkinson of Boston and W. Elmer Schofield of Philadelphia, all, with the exception of Mr. Kroll, conservatives. The prizes to be awarded are most generous, due to the munificent gift of the late William A. Clark. They consist of first prize of $2,000, accompanied by the Corcoran gold medal; second prize of $1.500, accompanied by the Corcoran silver medal; third prize of $1,000, accompanied by the Corcoran bronze medal, and fourth prise of $500, accompanied by honorable mention. One of the conditions of the gift is that for one week after the opening of the exhibition the Corcoran Gallery has an option for the purchase of any or all of the prize pictures. During the course of the exhibition a popular prize of $200 will be voted by the visitors. The committee in charge of this®exhibition consists of James Parmelee, chairman (who is unfortunately prevented from active service at the present time through serious illness); O. Powell Minnigerode, secretary and director, and R. M. Kauffmann, a member of the board of trustees. THI foire aux croutes at the Arts Club proved a brilliant success and incidentally netted a very satisfactory sum for the building fund. Not only were all of the features for which arrangements were made in advance put through with the utmost success, but a little cyclone descended from the heavens at the psychological moment to add the interest of the unexpected. In less than 15 minutes the work of many hours was apparently destroyed, but with characteristic courage the producers set to work and in an incredible time repaired the damage. Occasions of this sort are doubly serviceable; they introduce the element of mirth, which all art should have, and they teach the lookers-on that play can be, at its best, artistic. Many generous contributions were made to the foire by artists both in and out of town. Henry Hubbell, for instance, contributed a most excellent portrait of a little girl with golden hair; Willilam H. Holmes of this city one of his characteristically fine water-color land- scapes; others with like generosity. Inmmyummmmum- to be seen an interesting collection of paint- ings by Washington artists, not of necessity members of the club. Only one picture is shown by any one person, and there are a few out-of- town exhibitors. In this exhibition water colors and oils are hung side by side and without detriment to either. There are excellent paint- ings in oil by Mrs. Neuhauser, Lucia Hollerith, Alice L. L. Ferguson, Ruth Osgood, Jessie E. Baker, Garmet Jex and others; water colors by Lesley Jackson, Lona Miller Keplinger, Susan B. Chase, Margaret Lente and Frances H. Combs, to mention only a few. An interes'ing feature of this exhibition is & group of minatures by Mrs. Nina Nash Cron, wife of Lieut. Col. Anton C. Cron, who studied under Elsie Dodge Pattee and Mabel Welich, both accomplished miniaturists. Mrs. Cron p:.oves herself, however, an apt pupil, for her woik is both subtle and strong, technically good and artistically charming. Her portrait of her husband is excellent; also one, presumably, of her young daughter. And of special interest are miniatures of a Spanish dancer and an elderly Spanish woman. Mrs. Cron has exhibited with the American Society of Miniature Painters in New York, the Pennsylvania Society of Miniature Painters, Philadelphia, and the Brooklyn Society of Miniature Painters; also in Chicago, Memphis and other cities. IN the reception room and dining room on the first floor, of the Arts Club, a collection of water colors by Mary Doolittle Dawson was placed on view October 22, to continue to No- vember 1. Mrs. Dawson has lived the greater of hcmemandneuwmm-ndumom rightfully takes her place in local art circies. She began the study of art at the Art Students® League in this city as a pupil of the late E. C. Messer and Delancy Gill. After her marriage for some time her art was practically set as.de, only an occasional painting produced. During the war she ente.ed the Government service as a statistical draftsman, a capacity in which she continued to serve until a little more than & year ago, when she resigned from this field and resumed the study of art under Miss Clara R. Bsundi%r:‘. She has also studied with Cameron Included in the present exhibition paintings, the majority of which are ot.;:vz and still life subjects, the remainder landscapes and portrait sketches. Mrs, Dawson has a de- lightful sense of color, and it is probably for this reascn that in the of flowers and still life subjects she has achieved greatest success. Especially attractive among the fore mer are paintings of “Japanese Quince and Spirea” in a turquoise-blue vase, “Garden Flowe ers” of many colors shown aga ast a dark back- ground, and a spray of apple blossoms in a luster pitcher. A piace of honor over the man- tel in the reception room has been given to a Continued on Nineteenth Page _ART SCHOOLS. QRSN E SIS ENANRATTNUTEIRININIS I Y HILL SCHOOL of ART 6 Dupont Circle No. 1271 WISEEEETERETSENERRNNRTNT . . AC%DEMY—w 1333 F St. NW. ME. 2883. CORCORAN SCHOOL OF ART of the Corcoran Gallery of Art N. Y. Ave. and 17th St. "~ CRITCHE SCHOOL OF ART 1 Dupont Circle—North 1966l Classes for Professionals Modern Design Life Class (With or witheut criticism) Arts and Crafts Rates on Application Abbott Art School 1624 H Si. N.W. Corner 17th Mahoany Art School Day Professional Courses Night In Color, Interior Decoration, Costume Design, Commercial Art, Posters, Pen< Ink. Children’s Saturday A.M. Classes. 1747 R. 1. Ave. North 1114 0000009000000 0000-