The New York herald., 1921-11-20

making portraits in Cuba, also has had
some New York sitters. among them
Gen. O'Ryan II must be confessed that
this portrait of Gen. O'Ryan is not so
happy as the same sculptor's portraits
of the Cuban presidents and generals.
He has succeeded, however, in appre-
hending other American types very
well.
Mr.. Bolins pictures OF the dance are
the best things he does. He is enanl-
ored OF the Ballet Russo type OF dan
cling and manages 20 get both the drama
and the grace of the movement, choos-
ing generally the moment when all the
stage is darkened and the two leading
dancers are picked out by the man on
high with the spotlight.
A set of thirty-two drawings by Ellie
Nadelman the sculptor, have been care
fully reproduced in Paris and are now
published in book form in New York
AS foreword Mr.. Nadelman makes this
confident statement
These drawings, made sixteen years
ago. have completely revolutionized the
art of our time. They introduced into
painting and sculpture abstract form.
until then. wholly lacking. Cubism was
only an imitation of the abstract forms
OF these drawings and did not attain
their plastic significance. Their in
f,uence will continue and will be felt
more profoundly in the art of the
future
The volume bears the title, ''vers la
Beaute"
Rubin and Kolnik, the two Rumanians
who are exhibiting at the Anderson Gal
leries, are young men who have not yet
ba nf ~
of Holder, the Swiss painter. for the
first time. They have painted pictures
born of the sympathy with suffering
humanity engendered in them by the
war but they painted their pictures far
too quickly. Their idol Holder. would
not have painted so many in so short a
time.
They are both intense and mystical
Words attributed to them in the cata-
logue vividly portray the present state
O.. these young mems minds:
II do not like this city one never
sees the sky. / will go to India, Japan.
us soon as ] sell these canvases." Then
he said, with compressed violence: II
will not think of the world. What IL
do not exhibit for twenty-five years. 1t
is the only thing to do. One must not
think of the public. The only life for
the artist is solitude. work, creation
alone ana separate
We stood now before a composition OF
five figures, THE Temptation in the
desert" This canvas seemed to me to
be Rubin's masterpiece. In this he had
achieved an arousing relation of abb
slract forms.
THAT figure in the middle" he said,
zig myself. 1t has tho face of my
brother, who was killed in the war.
saw him on his deathbed. and his head
ig in many Of my canvases. But It is
myself there" His voice became fer
vent. "It is l resisting temptation, con-
| tinuing on my way of suffering in spite
! of the hands that reach out to grasp me.
You see" Che pointed to the figure of the
woman seizing the robe of the emaci-
ated ascetic), "she is trying to hold me
/ back, but am going on. shall 60 on y
What American artist will paint the
| most notable marine in 1922? All who
are interested in the United States
| Junior Naval Reserves patriotic and
| altruistic task of creating sea imagina-
| tion will learn interesting particulars by
\ communicating with Edward A. Oldham
| the executive secretary of the Reserve
at 21S0 Broadway. For the last -four
years Mr. Oldham has been industriously
| engaged in press agenting the sea, with
| the purpose in view of reviving In the
American mind the old love Of things
maritime that once made America the
| mistress of the seas" 1t has been y
matter of interesting comment on the
growing frequency of marine covers OF
magazines. boat and sea illustrations ir
the copy OF national advertisers, ano
maritime titles of hotels and restaurants