The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-10-11
ART IN The NEW THEATRES,
-FOUR or THEM NOTABLE FO1
THEIR DECORATIONS.

Art Nouveau style--nrooade and mural
Paintings IN the LyceuM-Roceos
Interior Of the Remedelled Empire.
This b tho age Of the artistic In theatre
commission architects to design play
houses for them emphasize other points
than the seating capacity and the economy
of the decorations. These used to Do tho
features that theatre builden and de-
signen were asked TO bear in mind
The name Of well known firm Of Archi-
tects or artists was almost unknown In
connection with any theatre put up be-
fore tho last decade. Ono exception to
this was the Garden. which was built by
architects Of eminence and constructed
throughout With less emphasis on tho COM
mercial side than In the case Of other
theatres at that time.
As artists came to be engaged to dec
crate fine hotels. bank buildings and other
business places. the theatre nanageu grew
dissatisfied with the kind Of decoration
that had become traditional with them.
This Is q period Of great prosperity In tho
theatres, and manAgers are able TO pay
prices for their theatres that would have
been thought out Of the question twenty
years ago.
All Of the new theatres now being erected
In this city viii come more or less under
the influence Of this now movement In tho
building and decoration Of playhouses.
and some Of them are to Be - artistic -
the best Of American artists can make
them. This y especially true Of the En-
pire, which was entrusted to CanAre d
Hastings. practically 70 be rebuilt. g. only
tho four walls wore left standing Of the
Now Amsterdam. designed and built and
decorated by Herts Tallant, and Of tho
Lyceum. which was put up by the same
architects.
Tho New Amsterdam Theatre. built by
Klaw 4 Granger in Forty-second street.
stands for somsthing moro than mere
expense and artistic effort. Il representa-
q now school in decoration which was mover
before applied to theatre in this country.
or anywhere else for that matter. and was
never here used 40 thoroughly In any build
ing.
u
called art nouvedu, which has been seen here
in many forms, but never, Is yet, in thea
tire. Herts 4 Tallant were anxious to apply
this method to theatre when there would
be no question Of expense and tho best
artists could consequently be engaged.
They were lucky enough to And In Klaw 4
Erlanger managers willing to allow them
TO make the experiment. and the New Am
sterdam Is an example Of what tho now art
In architecture and decoration represents
when 1t is manifested under the most favor
able circumstances.
Much Of the condemnation Of the new art
comes from the poor specimens Of the school
that are everywhere exhibited. In its most
exaggerated phases, 1t is considered only
a passing fancy in decoration.
In its best form. 1t 10 certain to have an
influence on most styles not essentially
classical, II prevailing opinion about it be
correct. Taking as the theory OF the now
art that it's frst purpose is to express in
design the requirements Of construction,
it will be seen that any building 80 special
in its construction as theatre would DO
good test of the principle.
Both Mr.. Herts and Mr.. Tallant were at
the Beaux Arts In Paris when the new art
began to attract attention there, and they
have associated with them in the building
of this now theatre some OF the same artists
who were interested in the movement then
and have followed its ideas since. All
have cooperated in the effort TO put UP a
building which by its beauty and its adapt
ability may advance the propaganda Of this
new school.
Max Neumark Of Bremen and his brother
Fritz, who have done some Of the most
noted mural decoration In tho new art to
be seen in Germany, were engaged by the
architects to do part OF the decoration for
the theatre, and among their works are
the decorations over tho boxes and the
panels in the foyer.
The scheme Of tho box decorations 10 q
tree flanked on either side by two eagles.
thus carrying out tho national element
observable everywhere in tho theatre. The
panels of Fritz Neumark are floral in general
design, with tho head of girl as the central
feature Of the work.
Another panel in the room typifying prog
ress is the work Of Hugh Tallant. George
Gray Barnard, the sculptor, whose group,
THE Two Beings That Are With Me, was
shown in the Paris salon in 1898; Thorbj orn
Bassoe. who carried the new art a. It was
applied to architecture In London; @. d. M.
Peixotto, r. Hinton Perry and Robert Blum.
Enid Yandell. Richard Anderson, Ostetag
and st. John Issing have combined in the
decoration Of the theatre. which il the first
to receive the attention Of 20 many artists.
George Gray Barnard did the sculptures
on the facade OF the theatre. which is Of a
warm gray tone. Peixotto did the series
Of paintings in the New Amsterdam room.
and tho interior OF the auditorium, which
is in light green, relieved by mauye and
mother OF pearl The categorical design
above the proscenium was the last work OF
Robert Blum. who lived to complete all
that he was commissioned to do for the new
theatre.
In all the decorations Of the interior, in
the marble carvings and the naouldings,
there are only actual flower, plant and ami
NAL forms, utilized. OF course, In the styles
of the art nouveau.
Like most OF the new theatres, the house
is built on the cantilever principle, and
there are no pillars to obstruct the view.
The seating capacity Of the New Amster-
dam Theatre proper 10 800.
The building contains the largest iron
girder Of the kind ever made 1t Is 90 feet
long, IA feet high, and weighs 10 tons.
The vestibule and lobby are Of terra
Gotta. Nothing but real marble and genu-