New-York tribune., 1922-03-12

In Salon F there was further cause for COM
plant. Here the risque 'etudes' seemed to
surround and hold in helpless state of en-
barrassment gentle little study of a ruined
mill. Among this group around the mill were
found four more matrons without shawls-
art is running heavier this year-in expires
sions Of grief; grief for what not being ans
parent to the eyes Of incompetent critic.
Here also stood an ultra-modern version Of
September Morn" naturally numerous years
older and numerous pounds heavier bovine,
elephantine "Septembcr Morn" of the avoirdu-
pois school.
If one may do credit to American indepen-
pendent artists exhibiting this year at the
Grand Palais, no American has INDUCED in
paintings of stout ladies either with or with
out shawls. Among the Americans exhibiting
in the free-for-all are to be found Anna
Wood Brown, of New York, with two carr
vases, RED Cliffs" and young Fruit
Pickers"; Cameron Burnside, of New York.
with three paintings, "Place of the Theatre
Francaise" and scenes in the Riviera; T. T.
Butler, of New York, with three subjects,
notably New York Harbor, 1917; Lily Con-
verse, an American born in Petrograd, with
three canvases, including one of Puebla,
Mexico; Lucille Hit, Augusta, Ga; Sid
ney Laufman, Cleveland, Ohio; Herbert Les
pinasse, Curtis Moffat, of New York, with
portrait work; Morgan Russell, of New York,
whose ecclesiastical paintings seem to be
extremely out Of place next in line with ann
Italian artists group of nudes; Bertha Phil%
lips, of Brooklyn, with three paintings, "A
Flower Garden" Chateau de Authezat," and
'"The Dragons Rock; NJ. Ray, Philadelphia;
Janey Scudder, Terra Haute, Ind; Theodore
Scott-D Dabo, Detroit, Mich; Z. P. Ullman, New
York, and others.
While French artists predominate, there
are sprinklings from South American coun-
tries, scores from Scandinavia, hundreds from
Poland and Russia, a few from Austria, one
bold German and hundreds of various other
nationalites exhibiting "al Ia independant'
this year.
No American works are found in the cate
CORY of sculpture, which occupies several
large SALES of the Palais While competent
critics might find many works here of com
mendable character, the Tribunes critic found
a sad-eyed French gentlemen trying to search
out the catalogue number and creators
identity card on circular stove which stood
among the exhibits. Failing to find what he
sought, he stood admiringly before the object
for some moments, eventually moving away
not entirely convinced that the stove should
not have, at least, catalogue number.
The Goldberg school seems to be fairly well
represented in the sales of plastic art, where
are found several young and not too vel
moulded young men and women--plastic, Of
course-standing on their heads, waiting for
some one to hang an electric light their
toes and call them useful.
French spectators are heard, more or less
audibly, when standing before the works Of
this school, TO murmur words and phrasez
which sound suspiciously like "Quel horreurl'
"Mon Dieu.' etc. And, Eau contraire," young
lady of the Quarter Latin, late of Greenwich
Village-from the cut of the hair and raiment
was heard to admire a Goldberg nymph in
perfect Greenwich Village English.
cts like Bolshevism,' remarked a specta-
tor the other day in the Sales de Sculptuer..
cts condition of mind. Thank heaven, the
dada cult are not yet sculping"
Perhaps the newest art cult to be found in
the Grand Palais this year is tie Apacba cult
which believes in putting 'sjazz" into its mas
terpieces. Scenes Of baggy-trousered and
slouch-capped gentlemen, profusely bleeding,
with daggers between their ribs, but fighting
on, are exhibited here and there.
Who knows whether the Apache school may
not crowd out the cubists, dadas, the nudsts
and other cults within another year?
To the independent exhibitors the 1921-'22
crop of art seems based on the theory that
what is is beautiful and, like pigs is pigs"
cart is art" u3