The New York herald. [volume] (New York, N.Y.) 1920-1924, 1921-05-08

Special Cdole to THE NEW YORK HERALD
Copyright, 1921, by THE NEW York HERALD
New York Herald Bureau.
London, May I.
While social trumpets blared the
opening Of the Royal Academy ex-
hibition the international Society Of
Printers. Gravers and Sculptors pro-
duced an exhibition around the corner
which for sheer artistic interest. as
well as in the interest II holds for
Americans. far eclipsed the more
nearly classical display. And more
nearly classical is hardly the descrip-
tion to apply to the Academy show
this year.
With Augustus John now a member
OF the Academy that venerable body
came near being revolutionized by its
selections. 1t is called the "F1appers
Academy" because round half dozen
Of the exhibitors. five Of them women.
have not yet reached their majorities.
The veteran exhibitors find themselves
chased from Burlington House while
these budding genuises get hung on
the line, and it is safe to say that not
In years has the Academy aroused such
a controversy wholly outside the dis
cussion OF mere art
Sir William Orpen has proved himself
not only master painter but master
Diplomat and master begetter Of p'b-
licity. While his picture of the chef Of
the Hotel Chatham In Paris. favorite
art IF oil cl, nj Ay,ac trn istc
is one of the most discussed pictures al
the Royal Academy. he also Is the presi-
dent md one If tho cv nrs in e in
ternational show. Furthermore, 1t Is the
first time since the war that there has
been a really International exhibition
with SEEN ~"'iors rep e.en ed on tn
walls of the Grafton Galleries. though
natural y the products of British studios
predominant.
American Contributions.
The society founded by Whistler fol-
lows closely after the show OF American
art arranged in the same galleries by
Mrs Harry Payne Whitney. The pr f.
ace II the cata logue of this show and the
exaggerated rumors concerning this
American exhibition had raised expecta-
ton to such a pitch that the realization
To put 1t bluntly the abundant artistic
talent In the United States was not ade-
uuately represented. The show gave a
distorted picture Of the present status
OF American painting and the RETROSPECT
tive section was even more Incomplete
and misleading.
It Is more gratifying that the Ameri-
can contributions to the International
exhibition. though smaller In number.
more than held their own In the present
cosmopolitan congress.
The somewhat obscure framing Of
Arthur Davies's interesting composition
OF nude figures in landscape entitled
1.-THE Balance Of the Golden Scales"
does not detract from It's charm, which
consists In the blending of primitive
and iltramodern impressionist elements.
The picture connects Lucas Cranach
with Cezanne and has the distinctly per-
sonal flair OF Davies's art
Painter Of 'sNursc CavelI."
A painting Of three children under
the shade of veranda roof. with a
glimpse Of landscape. dazzlingly sunny
and daring beyond. called ION the
Porch" comes as a surprise to those
who know George Bellows only through
his Nurse Cavelp' picture. Coming to
London two years after the war. the
painting OF this dramatic episode failed
In its appeal. ION the Porch" Is an
observation OF life transferred to cam
vas with unflinching directness and a
sureness OF purpose to which even the
pleasing quality Is sacrificed.
A portrait by Cecilia Beaux Is mainly
remarkable for Its tasteful color ar
rangement costume and acccssories-a
black velvet Dress white fur, blue
background and a red gold chair. The
face is feeble in construction. the right
cheek particularly being carelessiy
dragged into the background and made
unsubstantial and fluffy.
Rockwell Kent's BLACK Rock" COM
lines austere color and form with ex-
cellent brush work. On more conven-
tional lines Is John Sioans "A Woman
Work" Allen fuckers Through the
Trees is piece of pure impressionlsm
where the delicacy of spring coloring
Is offset by a rather brutal vigor of
technique.
The French section Is largely retro
spectlve and contains important works
by Manet. Renoir. Degas. Vollon and
Bernard.
Among the British artists Orpen gives
OF his best In witty, forceful head OF
Georges Clemenceau against a black
background. symbolically suggestive ~
smoke and the flames OF war. One of
the most interesting features OF the
whole exhibition Is a series of woodcuts
to Illustrate Oscar Wilde's "Salome,"