New-York tribune., 1922-01-27

no was, ts.s artist had the aesthetic
tec;ltudo Of his race.
An Unusual Corot
Mr.. kclekian follows up. for a time.
TINS rather conservative motive. the
motive OF the artist who is thinking
rev thoughts. thoughts OF his own. but
Is somehow faithful to the immcmorial
poisc and discretion of school The
SPIRIT OF the collection continues eoua-
tlc and persuasive through the works
o. 'orot 'landscapc notes. interesting
hSure t'eces and an early portrait of a
man which shows him in most un
'an,,,'sr mood. and there is no per
cept'olc break in the sequence who,
We reach the impres sionists Thev 200
played the game" Manet in his ON,
Eag'ng cafe sketch Chez Tortoni" ia
aA'n to ingrcs himself in his fcel;,
,or '"rm and in his sohrietv of ,opo
Ntsas' on course. Is among the masters
spiritual offspring. There is oh,.;ors
p'oo' o' 'hls IN his consummatc drafts.
,,NahSn'p Of the Nttlc "Etude do ~
I've tAe "Portrait dc Femme" .,nd
+n1u 'Yos s'"oles % The ballet or the
,sn,'+ ,n,,t'' re cnose his own path. but he
"ert on practiciNg some. at ali ovo,4s
O. the virtues of the great cr.r4s,,a, '',s,'
OF Montauban. This is tho onts,a,,.1;'' ,'i';"''
lesson OF sill of MIR Kclekian,s nai,'+
s; as, IN the earlier category. lnrr.s
sHu bciacroix. Daun,ior and Courho4
nahe' n: and Deeas, Monet. Sislev and
isSarro they are all in their d;sor.
.'.' ways exemplars of the same avis
VIC cohsc'ence. Then. abruptlv thoro
y great change The etrcar, or
iec+'on sHom ar1 as It flows through this col
~ .Itu'oh soadeniy falls over the edge Of
e,',',%S ana - dlAuscd into the void n
as 1t was practiced by the in1nrnSs;nn'
.SVs' oy Monet and the others we ,avo
L.e opScur'ty of Ctzannc. The scnsuo
ooauty of Rcnoir gives place 70 tho
- rae uhioveilness OF Matissc.
me triumph OF one ism ,s eo,ns-
0'nes ',.'',SI na'iea as sanctioning the tr;.
ulNpA OF another. Manct and tho rnrt
e.'e's" somc 1idiculc at the bco;ns
rag: ergo. We may be suro ths4 a,',
"'''<' iateF facing tho same oydo.1
.'."ss .',, nsoesSarily be possessed OF the
S"m' durahle merits. No esoter;c
p',iioso ophy is required for the cx-
p"So'N o' TINS 1ailacy. a little COM
Lesson in Cezanne
IS fortunate that this cxh;b;,;o,
should contain the old story as ,,.oli
as as the new Let the student Ioo,, 80
" MoAet or Plssarro in the lipht of
corot Then let him look at Cazanne
IN We ilght Of both. He cen scarcely
mss the lesson. and he will no. misc
~ Il ne uses courage and refuses to be
'ntimidsted by the cult for nodern;sn,
and that human passion fo1, con,orn,;t..
winch Is so hard 30 resist Nbcn no
nano wagon begins to rumble in the
dlstance man is prone to pct ready
to make leap for it, If only To stay
tor while on the running board
' Everybody" rhat ancient mvstayoeue,
IS saying that Cezanne is sublime
master: Sublime hddlcsticks There j
is a flash of color in The "Ouatre
Peaches. There is again a faint init
nation OF the same quality in the
"Paysage Il lEstague" But the seven
examples Of Cezannc remain. neverthe-
less, examples Of rather hating prose.
OF a pedestrian temperament feeling
its way toward art and failing TO reach |
1t through technical inadequacy.
Cezanne. it has recently been OBJ
served by MIR. D. S. MacColl, "swears
by the bones Of his design. instead
of dlssimulating the skeleton under
flesh and skin" II this be so. then so
much the worse for Cezanne. Allud- |
ing TO one Of the painters works. the
English critic refers to "a pretty
swa stika Of legs in the centre" The |
lover OF painted pictures is not looking
for skeletons or swastikas. pretty or
otherwise. What he wants is a painted |
picture. and one that is beautiful into
the bargain. The trouble with mod
ernism is that it strays off into form !
less worlds and in the egotistical
exploitation Of, say, swastikas, forgets
how to paint. We are rcgaled. oc-
casionally, With tales of what these
masters" can do if they choose to
give their minds to it. Matisse, for
example, can draw like 1ngres.
Drawing Only Ordinary
Discounting the exaggeration in that
assertion. We Will admit. nevertheless, /
that Matisse can draw. if he chooses. ,
His "Portrait de Femme Accoudec" in /
this collection is drawn. So is the |
Tete de Femme" But in neither case
has the drafts manship any distinc
ton, any charm. anything more than
one r1lrEt aNpart Of r,,ito orl;ro.,.