The sun., 1919-09-07

lie ana modeliinB-are an
announced by the Department of Ex-
tension Teaching, Columbia Univer-
sity. The instructors will be Charles
A. Hartman, assistant professor Of
architecture, Columbia; Joseph Lau-
Der, mural painter and instructor in
the school OF architecture, Columbia,
and John c. Gregory, fellow Of the
American Academy in Rome and in
structor In extension teaching, Column
bia-
Jne course planned for the winter
session consists of outline pencil
drawing from fiat, from cast, isometric
and isometric and pencil shading. The
work in water color is for architects.
architectural draughtsmen and stu
dents in the allied arts, with outdoor
instruction as soon as weather con-
citions permit. The water color courses
are to be given in the spring session.
The purpose of a course styled
drawing, Charcoal and Life" is to
give the student the necessary foun-
dalton through the study of the an
tique figure for work from the living
model AS soon as the student shows
sufficient proficiency to warrant his
working from life, this will be per-
united without awaiting the end of the
spring session, in which 1t will be
given. Likewise, life class students
will be encouraged to draw OCCASION
ally from the antique.
In life drawing and composition, a
course to be given in both the winter
and spring sessions, STUDY from the
nude figure is considered an essential"
says an announcement. mot only for
the student of painting but for the ar
chitect, modeller and designer as
WELL
Another course takes up pen and
ink rendering from examples to ac-
iquire technique. with free rendering
from photographs, objects and archi-
tectural problems. This is scheduled
for the winter session.
The object of a spring session course
in modelling is to train the student in
the perception of form in the round
and TO acquaint him with technique.
Curator r. F. Bach of the School of
Architecture will act .as adviser for
all students planning to undertake the
course leading to the certificate of
proficiency as well as those wishing
advice as to special courses.
Pencil sketches done in northern
France by Eric Christian Maunsbach
during his service in the United States
Army form part OF an exhibition of
decorative illustrations, sketches, etch-
ings and water colors which is being
CHI 49,
in its galleries.
The exhibition is of special interest
to interior decorators and to people
who are arranging their winter homes
as the prices asked are very moderate
for original works. These include
,etchings by Martin Lewis as well as
the wood blocks by John Held and
Tod Lindenmuth, Harold Sterner;
crayon drawings by Richard Marwede,
and decorations by Wilfred Jones and
Hanley Henoch. o..
Few realize that II is possible for
them TO own original drawings by
good artists and enjoy the charm OF
living with real works Of art instead
of reproductions. Sketches often are
even more vital than the finished
paintings-they are full of spontane-
Gus Imagination which In itself is
productive of great joy.
The Brooklyn Museum has acquired
as a gift from A. Augustus Healy
president of the Brooklyn Institute OF
Arts and Sciences, a large canvas by
Emile Van Marcke, called Cattle on
the Plains" Concerning the work and
its painter, Gertrude NJ. Young writes
in the Quarterly of the museum:
ut shows broad sweep OF lowland
and a far reaching depth of wooded
meadow and marshy river bank along
which the bulky cattle wind their lazy
way homeward. The canvas is golden
with late afternoon sunlight which
breaks through threatening storm
clouds and illumines the scene in bro
ken masses. The tall, slight stems OF
the autumn tinted poplars on the river
bank seem ready to bend and CULVER
in anticipation of the storm. and the
sea gulls overhead are beating their
way landward before the driving gale
Only the sleek cattle are unconscious
OF the threatening clouds and, in char
acteristic contrast to the horse in the
middle distance, who turns his head
to sniff the blast, the thronging cows
swing slowly homeward, the leader
stopping an instant to gaze out Of the
canvas with inquiring eyes.
Every inch of the canvas shows the
purely objective quality of Var
Marches art, a healthy, forcefu
style with no pettiness and no senti-
mentality. His work may not have
the simplicity or what Van Dyck calls
the elemental significance of Tro-
yon's, but the play Of light and shade
in this particular picture and the rest
less grouping of the cattle both in
movement and celebration are admir-
able in their technical accomplish
ment. Van Marcke's cows said one
critic in the Gazette deS Beduz Arts
are not rustic like those of Troyon
clumsy and boorish like their peasant
masters; they are "boeufs de luxe
grown fat in a palatial byre end their
glossy hides of silken black or white
silhouette themselves strongly against
the soft pastures of Normandy
One hears continually OF Var
Marcke as pupil OF Troyon. Strictly
speaking this statement is not cor.
rect. The two men had met al
6evres, where both were for a time
employed, and Troyon lost no time ir
recognizing the talent of his youne
confrere. Often in affection or ad.
miration when working side by side
at Fontainebleau the younger painter