Arizona republican., 1915-04-25
CLUB NOTES

ether and more ancient world where buildings are made more for beauty than for gain. And don't forget
 to look back upon tn grounds from all most any of the nearby hills. From there the flashing searchlights, the
 glow of spacious walls. the simmer of fountains. and the diamond flash
 ing of thousands of incadesccnts along
 the Zone make a dazzle that seems like some unexpected fairyland.
 Also Pictures
 on the Zone you will see a small
 concession bearing the cryptic title
 Stella" By listening to the barker
 you can learn that Stella is not some mysterious astrologer nor trained elephant, but a most marvellous paint
 ing In fact so marvellous he tells
 you, that you cannot make quite sure
 whether you are looking at a picture or at a living model tthcY all adore { thaD who has disrobcd for your am azement. Also most marvellous it cost one hundred thousand dollars. That proves it must be great. You get that?
 It is because it is just like nature and cost one hundred thousand-both i'm ! possibilities.
 i Now lets go look at the paintings; remembering, at least for the time be- ! inC. that most good pictures are pro-
 ducCd at q sacrifice, and that as a rule. the less a picture looks like na- ture the better art it is apt to be, for | it then contains only what the artist | has drawn from nature to he impresscc upon your mind
 1 First. mural paintings of the main | buildings. Much to the disappoint- i mcnt of uS painters these make on the whole EUt an insignificant showing. and with the one glorious exception
 of Frank BranEwyn's eight panels in ] the Court of Abundance. are rather 1 uninteresting individually. And don't ! think l say this because Brangwyn is
 man of international fame: seeing is believing. These paintings which so | beautifully keep their balance of color and pattern in harmony with the 1 building which they decorate still have | power to sHne as individual works 1 without separating from it. for the 1 first requirement of mural dccora- 1 tion is to decorate not, like a salon picture, to scream forth it's own mes 1 sage without considering it's surround i lnSs- Therefore these paintings are wonderful patterns of light and shade, i form and living color; and if you try
 to discover just what they mean and i what the figures are doing You will be l disappointed. In the first place you | 'lo not need to know, so the pictures ! do not trouble themselves to explain. In the second place. they are there to | deliver to you a message of beauty that scorns the paltry facts of realism not to set you q problem in analysis. Ask and ye shall receive.
 Inside the palace of fine arts there is | one grand and glorious tumble But out of this confusion you may pick a 1 few things to study I can only sug- l cost some that interested mc:-not very accurately as ! did not use the | c;ttaiog. was looking for strictly modern work, and in a big hurry at that Yet if you want the more staid | orders. they are there: rooms of stuffy 1 cid Butch and English and German portraits. and sticky suited compo- | sltions of the conservatives of the
 mid-Nict"ria period. Also there are two galleries of portraits and figures l in beautiful tobacco juice browns by Frank Duvenck and William NJ Chase.
 An agreeable change from these is the
 ;oom of pale green fairy-like land | scapes of Leonard Twachtman. an Am | crican painter of springtimc in the At l !antic states. Then there are two lit | He galleries devoted to Whistler, one 1 to etchings and Autographs. and the l other to paintings. Somehow I feel 1 that this great man is not well repre- l sented here.-certainly not as well in | the oils as in the water color and cray | on The four principal canVasses. oc- l cupyinG the opposite wall as you en- | ter. are apparently the beginnings of ! some decorative scheme not here car
 ried out; more interesting to an artist ! than to layman. Perhaps the most ! beautiful and typicalIy WhistIerian
 are the exquisite little water colors and crayons to your right And re- 1 member always that this man. fore runner or the violent "moderns." dealt ] essentially in suggestion, seeking all ] ways the aspect, Spirit and decorative | value of the subject.
 Of the younger Americans repre- | sented let me point out three spirited | canvasses by Clifford BeaI. full of life | and color.-both of realism and sug | Sestlon. One of the Gatun Locks bv 1 Jonas Lie pronounced Leo and two ] Of New York by A. L. KroH. an east l side Jew; three flashing marines by | Paul Dogherty. and three character | studies Cnot counting the Indian) and . nude bY Robert Henri of New York
 rank realiSt. These show an inter | esting and modern rendering of the ac- l tual facts of the flesh in a fIashing 1 straightforward way Some. if not all of the character studies were painted | last summer in Southern California
 AIS" thefc are two canVasses Of In | dlahS by F. l.. Blumenschein of New
 york evidently painted in Toas. New
 Mexico. These are interesting in their
 decorative arrangement, but a little too | sweet in treatment and over-senti- | mental in character
 The room of Childc Hassam may he
 interesting as he is one of Americas
 most prominent opponents of he Monet
 idea or divided color; but I think that | perhaps some of the smaller sketches ! and water colorS best represent | this well known man. Note that this | system of divided color is; devised and