The Washington herald., 1920-02-17
MANSHIP WORK
CORCORAN
Fifty-one Bronzes and Casts
From Graduate Of Rome
Academy.
GREAT VARIETY OF ART
Collection by Swedish In
structor Attracts Arts
Club Attention.

the south gallery. are fifty-one bronzes
and casts by Paul Manship. prod
uct of our American Academy at
Pcme.
Worked in the terms OF most an
cient Greece Is an American Indian
OF old days so placed as to seemingly
have shot No. 2. an antelope that an
old Greek hunter might have seen.
No. B. called a Lyric Muse. is Of the
Oldest art in Italy before Rome was a
city. Four sketches Of David with a
dog and in one case with his foot
on Goliath's head next attracted at
tC ntion. Another sketch, No. q. near
by, is interesting because 1t is the one
departure from the ancient and sug-
sests in its fluid but massive strength
one of Robins thoughts. Next along
this south wall Is a case of medals
and a crucifix in which the artist has
has thrown his imagination into the
mould of the late Gothic and early
Renaissance. Close by is No. q, that
might serve as an example of what an
old Greek might do IL he had a mod
ern costume to work from. To the
"NSN IL EhtANH
cient and modern spirit OF Manship
work i'm friendly rivalry with pleas
ant results. In the center of the west
wall is a large tinted piece called
n Portrait of Pauline.
John Barrymore's Head.
Another portrait is next of inter-
est. John Barrymore's head, as 1t is
treated. might be that of a citizen
of Etruria. yet is none the less that
of the modern actor. First, on the
north wall. is No. ). catalogued as
Playfulness. in which the action of
the Etruscan marches with the freer
anatomy developed in the slightly
later Greek schools. Next in line of
interest is a dancing Salome, with
the head of John the Baptist at her
feet.
Between these is the large ul a
dancer with antelopes that the Cor
coran has purchased for its perma-
nent collection. This group Is more
strictly ancient Greek in concep-
although l like to fancy II contains
traces of Mr.. Manship's many-sided
ability to think the thoughts of men
long dead. Near the east door in
the north wall is the smaller of the
two nude Brisis. Two floor CANDLE
abra on the east wall are interesting
in their appearance of antiquity.
Coming to the line down the center
of the room the centaur and dryad
is as strictly archaic in feeling and
expression of emotion as ii is in
modelling. No. 80. at the other end.
balances IL with its quality of Ital-
ian Renaissance.
Leaving the first floor there are dis
played in the cases in the center of
the upper atrium some etchings by
Wallace Dewolf.
Charles II. Woodbury., N. A.
The hemicircle and its anterooms
are devoted to the work in various
mediums of the painter, Charles H.
Woodbury..
Looking at several other canvases
of the coast, we come to number
thirteen, a good sized picture of
snowy woodlands. Number twenty
two is evidently canvas painted some
years ago but the flying spumekit
subject is as airy and full of swift
action as it should be. In number
twenty-siX there is a varient to the
usual feeling of majestic space, as
tawny rocks displace the view of sky
over the gray-green water on whose
swift current flies a vermillion boat
Bathers again appear in number
twenty-seven, wading or swimming in
a quiet inlet shadowed by granite
walls. With number forty-three we re-
turn to the land in a highland meadow
where the leaves of a single tree and
small pink clouds obey the behest of
the wind Next to it in number and
interest ( Is number thirty two
where just above the shoulder of the
blue back ground swell of tropic
depths appears a coral island with
its characteristic fringe of palms.
Going back to the anteroom a
group OF pencil drawings attract
our attention. Two are portraits
and the rest landscapes in hilly
country. Next are two groups Of
prints from etched plates from the
large number Mr.. Woodbury. has
found time to execute. One of the
most prominent placed is printed
from a zinc plate in deeply bitten
lines that represent more porpoises
at play. All the others are quite
vigorously etched except two. These
arc Spring at Mt. Pele where the
atmosphere Of mist or smoke could
not be rendered by heavy line.
Sketches In Crnyon.
Opposite the main group of prints
are the sketches in crayon, all of
such a uniform small size that I
think they must be in the pages of
the artists sketch book Many
subjects are included. among them
rather carefully worked out studies
of Boston bull pup. others are
mere jottings, fortunately a sort of
shorthand that others can read
with pleasure,
Beside these special exhibitions at
the Gorcoran Gallery. there is one
open TO the public during the day at
the Arts Club, 2O17 1 street northwest.
1t is the work of a man who seems
to have Joined the much discussed
new movement in art without loosing
his footing entirely in the wnvle-
some.
Prof. Berger Sandzen was born and
studied in Sweden under Andres
Zorn and Richard Bergh. then in
Paris under Aman-Jean. He is direc-
tor of the Art School of Bethany Co.
lege. Lindsburg. Kan. His work Is
strange to the eyes trained in other
schools. but one cannot find the
same fault of insincerity or pure
neurotic laziness that springs to the
mind on seeing so much of the So