Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1914-11-17
ART OF OPPOSITE
SCHOOLS SEEN IN
TWO EXHIBITIONS
Plastic Club and Sketch Club
Show Interesting Contrasts
Between Their Radical
and Moderate Methods.

Art lovers of Philadelphia have just
now an unusual opportunity for interest
ing contrasts between the moderate and
the radical schools of painting, as shown
in the two exhibits now open on South
Camac street. The one, at 247. the rooms
of the Plastic Club, shows canvases and
sculptural works by a group of former
students of the Pennsylvania Academy OF
the Fine Arts. The other, at the Sketch
Club, No 235, is a one-man exhibition of
the work Of II. Lyman Sayen, also for
mer student of the Academy. who later
came under the decisive Influence of
Matisse. in Paris. No two exhibitions of
such dissimilarity have been held in this
city for years, and those who would talk
intelligently of what is and what isn't in
art should not miss them.
At the Plastic Club the artists are all
women. There Is a group Of bas-reliefs by
the late Emily c. Bishop and group of
busts by Beatrice Fenton. The other eN-
hibitors are Ada C. Williamson, who has
four canvases. Marjorie d. Martenet, of
Baltimore, nine Alice Kent Stoddard,
seven, and Anne w. Strawbridge, eight
animal studies. The four last named were
all pupils OF William NJ. Chase, at the
Academy, and in various ways all have
learned "the lesson the master" The
bas-reliefs of Miss Bishop include two
dancing figures, CXcellently wrought, with
fine freedom of line. The statuette
group. under the oracular title of "Clas-
scsm and the Renaissance is not so
happily done. Finer figure molding is in
"The Passing of the Seasons" The best
of Miss Fenton's excellent portrait busts
is one called 1.-THE Victor" which is
meant to typify the American at his best,
achieving the conquest of nature at the
Panama Canal. The head of Peter Moran
Is also very fine.
There Is very little which is striking"
in the paintings. The artists have not
sought new technical expressions nor un-
usual line nor extraordinary color con-
trasts. Miss Martenet's color is the best
in massing and her use OF shades of red,
brown and yellow In Singing Leaves" is
because through the use of
color the effect of air and wind as well
as of sunlight has, In measure, been
given. The most delicate of the paint
ngs exhibited are the discreetly tinted
marine sketches by Miss Stoddard. Her
venture in portraiture is not so success
full Miss Strawbrldge's animal paint
ngs are vivid pictures. those of animals |
N action being particularly suggestive. |
Miss Wiliamson's portraits are uneasy, |
so to speak. They do not achieve any |
iefiniteness Of impression.
In contrast with the restrained and OBJ |
work of Mr. Sayen Is a riotous and, on
he face of II, irresponsible slashing'i6 i6f |
,olor. One has only to pay some atten-
ion TO the works, however. to realize |
hat iTresponslbility is the last thing of
which one can accuse Mr.. Sayen. Mr.
'ayen was quite willing TO discuss his
work, saying frankly that he had hesi-
ated about giving this exhibition, but
low that he was In for II he desired as
much understanding of his work as pos
ible. Mr. Sayen does not pose as an
.rtist whose work is too good to be
Understood He adopts a cheerful take
or leave it, attitude toward his work,
nd asks that he be Judged by the effect
4 his paintings and not by his theories.
The effect of his paintings varies with
he years. The first one exhibited Is dated
9O5. 1t was done when Mr., Sayen was
till free OF French inspiration, and is
very respectable piece of work in tone
arrangement. In 1905 Mr.. Sayen went to
'aris to live. dropped painting for a
ear and on his return TO his work al
eady displayed a certain freedom lacking
I his early work. He still made ar