The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1912-03-25
TRAGEDY OF SEX THEME OF 'tvERYWOMAN"
Great Symbolic Play in Which Celebrated Actor, Fred
erick Warde, Dominates-Perfect Art Must At
tend Presentation of Ethical Drama.
Never losing sight'of the psychic mo-

I Never losing sight'of the psychic mo-
ment when restlessness succeeds alb
sOrption, when the spiritual hedges
close upon the absurd, when the aver
age attention wanders because unable
to fix itself upon N point beyond a
certain period of time, it alternates
its seriousness with various theatric
devices which seem to lend a variety
that the play does not actually pos
sess.
In "Everywoman,' as seen in Indi-
annapolis. Frederick Warde easily domi-
| mates.
| In the somewhat anomalous symbol
ism Of Nobody" he gives what paint
presentation.
Through the force of his theatric
art and his powerful personality he
raises the role ito the stellar. He
makes Nobody the vizualization of
Fate-that Fate which stalks us all.
The mere theatric effect of the role
is enormous. But even at this, it could
not be minimized by a less perfect
dramatic artist.
IL - a llAc lAiH6 " Acol q 6ICoS
actor like Frederick Warde read his
lines. The mere e%locution is a delight.
Too many of the stage have lost, or
never studied, the fine art of speak
ing. Without it no actor, no matter
what his talents, can yer hope to &C.
complish those superlative effects
which are the acme of the art of the
stage.
The other day the writer, with an
other person. visited the Heron Art
Institute and wandered into the gall
cry where the permanent collection
is hung.
In this are pictures of celebrated
artists, among them the portrait of
James Whitcomb Riley. painted by
John S. Sergeant, which. by the way.
the Institute has decided may not be
lent in future since it's value is too
great to subject to the possible acct
dents of transportation.
In an adjoining gallery hung a loan
collection, which included a small
Corot and landscapes by Dutch and
other foreign painters.
In the larger gallery the other per.
son, an artist, had her attention fixed
by a beautiful landscape which stood
"Ah," said the other person, there
is a picture"
1t was admired for it's exquisite
! tone; it's clear, cool use of color; it's
palpitating sky, its perfect compost
ton, it's pictorial qualities, its won
derful atmosphere. its magnetic hold
on the attention-and, by the other
person, also, for it's technique.
Corot, Sergeant, Diaz, Childe Has
sam-other modern and present day
celebrities had been admired and dis.
cussed.
But of all the landscapes-the pic.
lures in short of whatever subject
his particular n conferred the at.
tention.
And who,' said the other person,
who is also an artist, painted it."
She walked over to the picture and
read the inscription on the frame
THE Meadow, by Charles Conner.
Although a resident of Richmond
she had never before seen this pic
Ire which was exhibited here in Nor.
ris's book store before it was taken to
indianapolis, and bought for the Her.
ron Art Institute.
So, as has been said before, what is
it hat makes an artist great?
After all they all use paint, brush
and canvas.
Given Conner a little longer span OF
life and he would have added to his
genuine greatness that greatness of
his name," which is sometimes the on
ly asset of a celebrity.
\ Lined up by the Corot and the Diaz,
those masters of the famous "Barbi-
zon School," the Connor landscape not
only held it's own, but dominated.