New-York tribune., 1921-12-18

ranged In the rooms of the Tiffany
roundation. 1t is made by alumni of
the American Academy in Rome. The
Japanese, we would say, are we'll adj
vised when they cultivate their own
garden, follow the instinct that comes
TO them by inheritance. Why, then,
should Americans go to Rome instead
OF falling into the ways of their fore
fathers? The answer is simple. We
are in the nature of things eclcctics,
and, what is more, all the masters Of
the Western schools are our forefath-
ers. There are things for us to learn at
Rome as there are things for us to
learn at Paris, things addressed to us
III our own language, the language Of
the Western tradition. 1t is difficult
to make this plain to some of our
artists, not only the young modern
lsts," but some Of their elders. We fear
that is because there are still too many
believers in the end of art as being
nothing more than a trick of painting
The Roman Academy enforces q few
other lessons and the present exhibi-
tion offers some persuaaiye arguments
on their value.
There is, for example, the lesson of
composition. The young painter who
can handle his brush with q certain
adroitness is nevertheless sometimes
as clumsy as u child when he attempts
to put his picture together. The
Roman Academy does not give him b
Roman formula to study. II simply
turns him loose upon the scene OF
great composition and leaves the in
f1uence of the masters to make an i'm
preston not only upon his eye. but
upon his mind. II he has any imagi-
nation it is inevitable that he should
suffer what we would call refinement
Of his artistic manners. There is a
droll story of brilliant American
eainter who had been in Rome for a
week or ten days when friend from
home met him in the street and was
shocked to find that he hadn't visited
the Sistine Chapel. Why hadn't heg
Because" he replied, with a grin, "I
don't want to risk dislocation of my
Individuality" There is an element Of
truth ct the bottom Of the joke. Rome,
or the weak brother, may easily lead
to disaster. But the weak brother
would collapse anywhere. The man
with genuine gift will bring it back
rom Rome not subdued to an imita-
tive feeblenesa ont really enriched.
Mr.. Ezra Winter, the decorator OF
the Cunard Building, offers a good case
in point. Italian precedent lies un-
mistakably behind his work 1t is ap-
parent in the fragments he shows at
the Art Center. But has it done him
any harm? Has it not, OH the con-
trary, fitted him to produce a remark
able scheme Of decoration, fine in de-
tail and in the ensemble? In compost
tion, in drawing. in atyla it is obvious
that he is the better for his Roman
sojourn. Take another quite different
type--Mr. Russell Cowles. His "Classic
Landscape" is interesting because it
has sound basis Of design. In his
Colorado Landscape" it is plain that
he is using greater freedom. This
freedom is bound to be enlarged as he
proceeds. But it is also tolerably GER
tain from the "Classic Landscape" that
whatever he does in the future will
have graceful form. He will put unity
into his work. He will not be addicted
to the inchoate fragment. 1t is this
merit of design, with an insistence upon
purity Of line and contour. which we
see cropping out most suggestively in
the various works by Mr.. Winter and
Mr.. Faulkner Mr.. Cox and Mr.. Jenne-
vein, Mr.. Fry, Mr.. Manship and Mr..
Inrasher. 1t is perceptible, too, in the
contributions of Mr.. George Davidson,
the broadcast interpreter of the Roman
idea. Does this exhibition reveal the
Roman Academy as all institution
turning out" great artists? 1t has
never pretended to be anything of
the sort. It's object Is to envelop
certain picked men in an atmosphere
calculated to stimulate and heighten
their sense of beauty That it sue
ceeds in this the exhibition proves
beyond the shadow Of doubt.
Two exhibitors have been opened at
the gallery Of the Junior Art Patrons