The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-11-13
RENBRANDT'S lie CAVALIER POLONAIS

the visitor will h" greeted with Chinese
,or Indian t.akwood carving and typical
EmpIr. iNtIre-
hat such anachrnnlsms ar" not only
SHOCKING t. the inc''l!Ec mind but ar
In"on-Tu1rIs - the trained eye and cat
Quilted - rob the house Il - most pr''-
Cious quality. T"-tsul homo S-nciiy,
hardly ~ Iuircs argument
~ the museum has classified ~ furn-
turs 10 present an urt.rlv sequence 81
ub!aCt lessons - Stud.n'-
The independents of last seasons
Thir'v-if'h S-r"-t show. ~" only art
shoH of IN" season that required polio"
l--lstanC. 20 manage the crow Is. will
give another exhibition tins s'ntsr II
rh"v keep their promise With all their
virtues and -hair defects they are laid on
Matisses head that man who hnbb.r
gastei ths academies and thos. who
called themselves modern also There
are some delightful comments on the
much discussed Frsncfman in the
latest instalment of c. Lewis Hind's
live -Consolarons of an Injured Critic
IN the Art Journal Of London CHANGING
at the modern movement and becoming
rather giddy@ Critic Claude Williamson
shaw observes:
Modern art il the cult 81 the indv idual
IN. ego's expression Of personal vision
plus ranki-hm.ss and eagerness for pub
licity In the good old sober DAYS they
kept their franks in the studio; now thev
exhibit rhom such exhibitions a. IA"
Salon d-s lndApendents. the Salon d'tu-
uInne and tho lively little shows at Cars
sirar's m Berlin would have been impoz-
-ible before IN" nineteenth century.
What does it matter cries the pcrfer.
vid poseur 80 Icing ~ can proclaim INV
cl.y crness and max. the public talk
about ne.
-Rut YOU would not call all the ultra
mo6"rnlsts parfervid Do=-.Irs'
-Of course nn'. That = tn. trouble. som"
Of them ARE SERIOUS. conscientious art
y h. ara really trying - Hnd now. NOR"
vital and NOR" essential methods NJ "H-
preston IN art The difficulty = 80 dis.
sociatr III" !" li"r- from the troop ~
catch m" ~" at any cost followers Mo-
h,Cy SO IA hgd -rudie,i his work doubted
the ht gh seriousness 81 t''Zann". and no
ncdy who has studied n" PAINTINGS 81
V"nri Nati-s" and has read m" essay bv
him .Nrlliuing his nrt has The slightest
doubt IL his s"ricWn"sr1 DO YOU know ms
v rk. p Ninety. five out II hundred lau IN
~ hon no them tiy" th'rf
-NarI-.r J. a ra"lII-" IN revolt. rot
radical who's. aim - not :" ov"r'urn
pomi- and municipalities but to '%'npe
from rhein ~" disclrri= traditions, acre
'iOnI and conventions and -s',SS IN"
elemental He paints seemingly a. I
child nj ght have painted In the dawn ~
art seeing snly tn" '.S-"r'tnl- in form ana
rolov -ecilg e~"rything IN tn. round and
stating his version with DhiltikC fcrvnr.
Iiv" with his -'rRng". staring, -r'"arv,
- r,'aky paintings FOR week. ard SOME
thing passes from them 20 Won. when
one" Won have overcome IN" tr-t di-iart',
something enduring that vii remain
Th.v ara. in their wild way life com
mInicating
Their. il always discussion a. 90 whether
il il right that tho architect should have
all to -ay in the completion of house.
that he rhould toll the. other artists what
60 do instead Of inviting their Intelligent
collaboration Their are 'hOs' who have
said that both mural painting and -culp-
tir. hav" suffered IN this country be-
cau-.. the arc hitects hay" b""u m COM
mard and merely told tho other art,-t-
what To do b,lHrr" though II might b"
n 10 th. whole or left their work oui
" m, sch"m" altogether Thor" l. al
nrricie IN ir' - D."DruNOr, written with
every syid"nc'. ~ happiness which tails
~ q modern villa built for IN" manager
IT a great Champa gna hu!4.' ~ R"!in- IN
wh'ch every hing. not only th"'rt"rinr dec
or tiun but even the furnishing NI- l"fi to
tho architect and the writer asks II It - not
v"r.t.lbly u niece 81 good forum" FOR nm
ar, h'tect in love with hi- srt" - have
IN" opportunity to cornpI-te M creation
by gI,Ing 10 u III. IT,. thar - carried by
itr decorations and it, furnishing
In th. i;-ins hntI-'' every room was
decorated arranged and fI-ri shed by
the architect. and fh.. writer -Iv- with a
perfect unity ~ style. which impi'' mach
his -tyl,. ~ very personal aud modern.
he SAYS IN" result 81 lugIc. r"u-On aud
ta-tr. and h." adi- -lvly tl'r' IN this /,
ditinr"ntiIfo- I'-rf from th" -n-cail'I
-mOd.rn style yet ~ looh - ~" lilIi--
rra'iDr- IL 10 get ~" id"a with hun that
tl.. hOlI-. ~ very modern indeed
IL ~ 70 y" noted hDvcy rr that 80 tN.
very end 81 biz article the happy writer
GI"oin-.. that u - n'itIt'uhtr % accomIruy
the architect nam" With the Nance ~
half q GoIrn ~ HI- cOlltbUT1tDr,,, inCluding
decorators, fUrnSsh"il. .ctlirtO-s md c""n
iHals"r.. aHG hr -I,..its pf tac
cpu-citHC" ~ we'll ~ th. .Ftr.rr.. caro-.
the search for forms BEST Adapted to the