The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-06-22

that the rigid, geometric forms Of the
three gunners and officers, and their
faces, rudely Clipped out and grimlike
deathheads, are unlike anything in ma
ture. Here again, one has to enter
to the artists spirit to realize his
intention and the profound significance
of his achievement. Wyndham Lewis
Is an artillery officer imbued with the
| sense of iron discipline and with the
| understanding of powerful machinery
| used for destructive purposes. This
sense dominates his whole picture.
Nature and humanity are organized
to correspond with the mighty guns
and shells. Everything is taut,
steely, harsh. The color scheme, too,
is forced into harshness. Again. the
paltry facts are sacrificed to the great
truth of the mental conception.
Lieut.. Paul Nash deals with the raw
ages of war in similar spirit. His
idea is the synthetic picturing Of the
shell torn, SCARED. tortured earth with
the accumulated wreckage left in the
wake of a modern battle. His picture
"Void" IL the summing up Of all that
he has seen and felt in France and
| Flanders q sermon against war more
powerful and thrilling than any writ
ten or spoken words. The very color
is attuned to this idea. 1t is livid, with
flashing lights and a haunting. vague
suggestion OF washed out blood stains.
| Lieut. John A. Turnbull Is an air
nan who has been through many a
| dangerous scrap in the clouds. His
| pictures open up a new world,
| nf N
! ARD romance, which may we'll appear
impossible and unintelligible to those
| whose feet stick to the earthly clay
but which is very real to the flying
man, and particularly to the flying
fighter. OF the beauty Of Turnbulrs
aii pictures, with their clash of forms
and clear cut color patterns. there
cannot be a moment of doubt.
Another phase OF art rebel work Is
represented by Lieut.. Edward Wads-
worth, the painter of "Camoufiaged
Ships in Dry Dock at Liverpool" His
art Is OF decidedly geometric charac-
ter, hard and straight lined, compli-
Gated, dazzling, but always controlled
by a logical mind. The representa-
tional element in his picture Is quite
subsidiary to the vital radiation Of
form from a centre of brilliant light.
In all these pictures there Is a root
Idea which prompts the painter to di-
rect expression Of his emotion or sem
sation. II literal truth has to be sac
rificed to obtain this end 1t must go.
The essential, spiritual truth is more
important than mere accuracy. And
these modern painters are concerned
with nothing but the essential.
The Cleveland Museum Of Art has
recently acquired by purchase and
placed on exhibition in the Colonial
Gallery a portrait on a panel twenty
five inches in height and twenty and
one-half inches in width OF Master
Samuel Barber Clark. painted abou,
1910 by James rockingham. The
artist was the son of James and Sally
(Fosdick) rockingham of Charles.
town, Mass, where he was born Octo
Der 2, 1888, both parents being mem.
bers OF families prominent in Charles
town from the earliest settlement o.
the town. In his youth he was appren
ticed to his father, a "chaise maker.
and having mastered the details o.
the business he soon began to pain
and decorate the coach bodies with
= so much success that he was embol
3 dened to try his hand at the paintint
= of portraits OF his relatives and friends
Q In 1906 Stuart settled in Boston ant
8 rockingham promptly placed himself
under his tuition, making such sigma
0 progress that in 1910, about the tim,
= when he painted his portrait OF Mas
2 ter Clark, Stuart felt justified in stat
8 ing that no one in the United State
n but himself could paint n head as well
8 rockingham was actively engaged
@ in his profession in Salem in 1917
= but it Is doubtful II he ever became
= citizen of that town. In 1913 thu
Rev. William Bentley of Salem. re
a cords in his diary that rockingham
p although a native of Charlestown
8 called himself OF Boston. Probabl!
q about 1910 he removed to New York
q dying in Brooklyn on the seventh o
A January, 1864, in his seventy-sixtl
q year. but It Is by his work done befor
a 1910 that he is best known.
Master Clark was a son of Samue
and Esther CLow) Clark, who lived OF
Fort Hi in Boston. Here the Sol
was born on the fourteenth OF July
u 1899. and here his short life terminate
l. on the twenty'flfth of October, 1871.
;, He was, IL We may Judge from hi
portrait, a we'll hammered boy quie
Il and thoughtful. fonder OF his book
than Of rough outdoor games, TO
? which his apparently delicate consti
o tuition may have untitled him.
e The art committee OF the People
iInstitIita of Rrooklyn IJnitad Nai0h