El Nuevo mexicano., 1920-05-20
JOHN SLOANS PICTURES
PRESENT HUMANITARIAN
views OF THE ARTIST
SOME SKETCHES mi


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LIND that 80 many artigta today are seek.
ing to express in painting, sculpture, even
in the uehtest sketches their own idea Of
life, that quality of emotion which they
crave most earnestly, which ID most thrill
ing to them, and which almost Unconscious
ly dominates all their efforts. / feel this
IN the work ef q man like Van Perfine, who
loves outdoor beauty so sincerely that his
entire life is spent in the woods where he
can see the river and the sky and every bit
Of natures changing wonder.
feel Just as strongly III John Sloan's
work. In everything / have seen OF Sloan's,
whether It is the illustration OF an old
French story, a village street In MOnhegan.
a New York roof IN the slums at twilight.
he Is presenting to you his own hpmanita-
rian outlook on life. He Is d lover OF the
people, seeting them in all their beauty re-
gardless OF sordid or dingy surroundings.
John Sloan Graves a beautiful world ana
happiness for every one, and he tells you
this every time he puts q brush on canvas
or q pen on paper.
In BordmaR Rohins0n's work You know
that he is seeking to understand all strange,
curious threads in this present day startling
pattern OF life. It Is 20 with d man like
Steinlein, II rs so with that intense fervid
spirit Rodin.
have felt this seeking to make tangible
ones vision Of life IN so many Of the ex-
hibitions where the display was largely the
work Of the younger artists, even Of the
more fearless and reckless, those who not
only want to portray their vision but to Ok.
press every changing phase Of the days
work. This desire to tell the story OF ones
spiritual experience once a day Sometimes
results n confusion, sometimes In weak
ness and futility; on the other hand it
keeps alive an immeasufable light Iii life
an ever changing vivid interest in the
progress Of the Individual brain and soul.
With some Or these sincere young people,
the stamp Of one great ideal is Impressed
all the output Of work for weeks aud
and years, however the subjects
pr the technique vaFies3
II Is ne longer deemed essential for a
to paint only portraits or figures or
landscapes or still life. and he may have a
technique for every subject. But often the
scheme Of artistic endeavor is domi-
mated and overwhelmed with the q great
desire.
In Stella Blocks work as l saw it I felt
1t once her immense and sincere interest in
strength, in reality. IN force. In all the ex-
pressions IN her drawings You see her de-
to impress you with the solidity OF the
with the richness 81 gestuNe and a
OF human development. Oecasicn-
lily as IN the pencil drawings that seem
'ubbed IN with one stroke there IL scarcely
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Il times she carries this desire Tor strength
D IN excess, which results III mere heavi-
less Of flesh, but even IN these drawings
he heavy bodies move in graceful lines and
he features are borne out OF q magic
knowledge 81 human movement. n one OF
he heads which Is definitely reminiscent Of
iQlbein IN It's delicate technique. she has
Iuilt up q strong form. A sense % bone Ind
muscle and even mental integrity.
This intense desire OF hers FOR airengtk
Which dominates her work makes Il Inn
Tor her ever 20 be subject 10 the
emptation 10 PRETTY people. There n
ever q ilne ia her work Intentionally ornh-
nenfal aud becsasn each line g necessary
nd sincere The result 4 often definitely
rnameptai. Two heads I haTe snqn pos
. anlidiiy which Hnald seem literally
"a posalhie outside 81 life. They are flesh
bone. they are Mcn that have been
0exeiapod bg human experiences not AZ
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