The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-04-27
Contemporary Art
in Parish House

An exhibition of contemporary
American art has been arranged in
the Parish House OF the Church OF
the Ascension by the following COM
mittee: Miss Cecilia Beaux. Miss Con-
tent johnson, Miss Juliette Thompson
Mrs. Philip NJ. Lydig. Mrs. George
Ethridge, Mrs. Albert Sterner and DR..
Christian Brinton. It Is promised that
this Is the first OF a series OF such
exhibitions.
Mrs. Lydig and Miss Beaux have
both written little prefaces for the
catalogue. Mrs. Lydig says:
Religion and beauty are SO fnsep-
arabic, Il Is meet to use the parish
house sor exhibiting art. Under tho
shadow OF the Church OF the Assem-
sion, itself n treasure house OF such
beauty as La Farge's inspiring paint
ing Of the Ascension. st. Gaudens's
classical altar, the platform Of prog
ress and the sympathetic haven Of
all those who are heavily burdened,
the rector has sought during the
many years OF his passionate to assist
the young artists by welcoming their
canvases TO hang upon these walls.
They have warmly responded, thirty
OF our representative masters are
lending their paintings to the Parish
House. a fitting answer. and one fully
appreciated. The opening exhibition
is the first step toward Il semi-annual
exhibition. To our busy life. so full
OF commerce and haste. the Church OF
the Ascension gives US prayer. music,
art-symbolic OF the Trinity and Of
unity"
Miss BeauS writes:
mot the least characteristic feature
OF American art is a certain spirit OF
moderation. Our painters usually
avoid extremes. You seldom meet in
the average American art exhibition
those vivid emotional or technical ad-
ventures that one so frequently en-
counters abroad. An innate respect
for tradition. for recognized limitat tons
alike of mood and manner are disclosed
IN almost any survey OF native artistic
production. II Is with the aim Of dis
playing to advantage this particular
attribute that the current exhibition
has been planned.
while Il would have been possible
on the one hand TO have been moro
academic and on the other to have
been more radical. II was decided to
illustrate by n few typical examples
the normal development Of contem-
porary painting. The work OF the ex-
hibiting artists, sound in observation
and expression, stands upon its own
merits and makes its own appeal. You
will note upon the hospitahle walls of
the Parish House fresh color and due
regard for plastic form. II is the out
ward and visible world that In the
main has attracted these painters. And
IN It's transcription into pictorial Ian
guage they have remained true TO GER
tain ideals, both aesthetic and social.
which We instinctively recognize as
natione!"
It might be possible to int n lance
with Miss Beaux except that one does
not TIT lances with ladies. But "our
painters usually avoid extremes"
makes one shudder. Why should they?
And do they2 fear Miss Beaux
should have said. "Our academies avoid
extremes-they love the humdrum."
But what saves Miss Beaux from the
argument IL that the committee of
which che is member has distinctly
zone IN FOR extremes. Mr.. Sargent's
"Nonchaloir" fl extreme. Mr.. weber's
Musician" ig extreme. Mr.. Rockwell
Kent. Mr.. Davies. Mr.. Halpert, Mr..
Moffat are extreme. II Is quite a meet
Ing OF extremes. So much the better,
and I hope Miss Beaux will attend the
show. She may ind that II Is DOS
sible TO be extreme and American.
For getting what ne set out TO get
Mr.. Sargent's "Nonchaloir" IL perfect.
70 be sure he Old not set out for much
nothing but the outward aspects of
n pretty girl who has flung herself
into cushioned seat. There was no
! question OF soul nor o. mood, but
merely the physica. facts the sort of
Thing Mr. Harrison Fisher does with
less skill for our poplar monthiies.
Rut Technique OF such a quality always
commands slance. The values have
been recorded with the certainty OF a
machine and the still life OF the desk
has been Just sufficiently blurred To
kssS Il down u .ts D;sDS RAssss ssso