Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-12-28

, Prince Eugen, Of Otto Hesselbom and
Anna Boberg are impressive. character
istic. big, and vital-they nave indeeo
memorable monumental qualities.
| From the Swedish to the Norwegian
section the transition is not at first
striking A little less attention seems
| to be paid TO finish, the brush work
seems broader, holder. the color more
| violent There is something very ad-
mirabIe in Harald Shhlbergs land
scapes crude as they may appear 10
untried eyes. But the works OF Muncn;
! to which a large portion of one wall
was given are worse than crude. they
are purposely unlovely. Munich is the
| exponent Of ''eXpreSSionlsm his lahsudSe
! is that of Matisse and the other niauinS 1,
| of Paris who have turned the art world
| upside down. Their aim Is entireiy 10
give expression to emotional feeling ana
| their belief is that this can best he done
| by casting off all superfuities. or what
| they regard as superf1uitieS OF grace
rhythm harmony and by presenting stub
| born facts.
| 1t is true that Munich attains his end
| he finds definite expression with dramarc
effect-but with such cost that one must
! question if it be worth the price. There
] is not one remnant Of beauty in one OF
his pictures, neither of line, nor Color
nor treatment. Henrik Lund, the por-
trait painter. belongs to the same cult.
/ but goes not quite SO far-he is a man OF
pronounced ability and his portraits are
vital, but their effect is initiated against
by a too obvious and insistent careless
ness of technique, an affected unf1nish.
Per krohg goes yet step farther than
| all and becomes utterly unintelligible. His
canvas entitled "Carnivar' may be in
terpreted any way one pleases-lts prln-
cipal figure resembles jumping jack,
| ton contains works ultra conservative
and others quite extreme, but less SO
i than the Norwegian. The "Cubists" in
| f1uence is seen here.
! If this is the way the world looks to
| Danish eyes, strange indeed, 1t must be.
| But we are judging by old conventions.
| Wilhelm Hammershoi's architectural
| themes are treated in accordance with
| these ancient traditions and are cOnSe-
quently lovely, toneful, refined; beside
| them, however, hang works by Willum-
| sen, which once aroused the angry scorn
| of those who beheld them, but are now
highly esteemed and much admired. 1t
| is we'll to see and to know what the
] painters of other nations are doing and
| to keep abreast Of the times, but it is
| also well to reason and think for ones
| self and not to follow blind trails. This
| Scandinavian exhibition will be shown
not only in New York, but in the Al
| bright Gallery, Buffalo; the Toledo Art
| Museum, the Art Institute of Chicago and
! at the Museum of Fine Arts, Boston.
THE winter exhibition of the National
Academy Of Design. which is held
as usual in the Fine Arts Galleries, New
| York, comprises numerous excellent
works, but owing to the insuff1ciency OF
space the exhibits are crowded and
| shown to poor effect. The best pictures
in the world can be rendered ineffective
by bad hanging. The first gallery is given
up to sculpture, therefore in the Wander
bilt gallery the paintings are hung frame
to frame and three deep. For the best
portrait in the exhibition the Thomas r.
| Proctor prize was awarded to William
NJ Chase; for the best figure composition
| the Isidor medal went to E. l.. Blumen-
| shein E. Irving Couse won the Carnegie
prize by a painting of an Indian entitled
| Making Pottery"
Hobart Nichols, formerly Of this city, is