Evening star., 1925-06-18
THE NORTH WINDOW
By Leila MechLin.

much as the work of art about which
they are spoken, but they can some
times help US to better understand.
ing. AS rule books on art are con-
sidered dull; many of them are, but Of
a considerable number this is not true,
neither is it correct to suppose that
books on art are only for the art
specialist. To the contrary, often
times they are written for the gen
eral reader. and If such will take time
to look within the covers he will not
only discover his mistake but be
amply rewarded.
There are, as every one knows, at
least two kinds of books on art-one
treating primarily with the history of
art and dealing with art as thing in
itself; the other having to do with the
appreciation of art-in short, it's rela-
ton to life. It would be better If the
two invariably went hand in hand, but
they do not, hence the impression
which Is so very prevalent, that art
Is mere luxury-something that can
De taken up or laid aside at will,
something which concerns only the
rev. H. Van Buren Magonigle, in his
lately published book entitled THE
Nature, Practice and History Of Art"
admirably meets this difficulty. He
first takes up the qualities common to
all forms Of art, then, turning to the
artist, explains the means Of express
sion employed in architecture, sculp-
ture and painting, dealing successfully
with the technique of each of these
forms. Later he brings before the
curtain in turn the Greeks, the Ro-
mans, those of the Middle Ages and of
the early Renaissance and thus grad
ually shows the development of the
art OF today as the inheritor Of the
past. The lining papers of the front
and back of this really fascinating
and comprehensive work carry maps
upon which the currents Of influence
In the classic, medieval and Renais-
sance epochs may be traced. There
are numerous and excellent illustra-
uons, furthermore, arranged as nearly
as possible in chronological order, and
the titles under these amplify and sup
plement the text, so relieving it Of
the burden of dates which so often,
as the writer himself says, pull a
reader up and check the swing of the
narrative. This is the kind of book
TO take away for Summer reading.
Mr.. Magonigle, the author, it will
be remembered, is himself an archi.
tinction. He is the designer Of the
great War Memorial which is at
present in process Of erection in Kan
sas City. Mo. His wife is a mural
painter. He has. Furthermore, an in
innate, f1rst-hand knowledge of art
and broad vision which, coupled with
a sensitive understanding and real
literary gift, make his writings au-
thoritatiVe as well as instructive and
enjoyable.
Issued about the same time during
the past season was an appreciation
OF Art" by Eugen Neuhaus of Cali
fornia, painter and associate pro-
fessor of art in the University of Cali
fornla, real school book, but one
which deals with the subject of art
very humanity and in a way which is
unique. The introduction of this book
sets forth the proper relation of the
artist and the public. and instead of
treating his subject chronologically
he treats 1t subjectively, bringing into
common relationship the arts with
which we are familiar today and the
great art of the past. It is a fresh
and understandable viewpoint. He
has the painters enthusiasm and the
.eachers gift, and it would be well
indeed If this little book of his had
universal reading and study.
\
There is much discussion TODAY of
modern art, or, rather, modernism in
art. Two books recently published
treat of this theme intelligently,
thoughtfully and impressively One is
by Ellie Faure-Volume " of his COM
prehensive History of Art" translated
by Walter Pack; the other is the
translator's own book on the more
recent of the modernists. Mr. Faure's
work is very comprehensive treatise.
carefully tracing the threads of inner
ltance from VelaSquez through Ce-
zanne to the present day. Mr.. Pack
writes more as from the camp of the
modernists, but without committing
himself. One of the interesting fea-
lures OF his book is the arrangement
OF illustrations in a section by them
selves and the comment given on each
by the writer. This is as though one
were shown the works of these mod
ernistS by one who had found their
secret and was able to elucidate II.
Should one have an inclination to
pursue this study further, Ralph NJ
Pearson, the etcher, who is an avowed
modernist, has lately found expression
through words in a little book en-
titled How to See Modern Pictures 3"
Few are more sincere or have sac
rificed so largely success in convic-
ton as has Mr.. Pearson. He has,
therefore, the right to be heard with
respect. If his book were unillus-
trated it would undoubtedly help to
encourage faith in and gain adherentS
for the modernists' point Of view, but
the reader is disillusionized by the
works which are set forth as ex-
amples. How often it happens that
theory and practice seem not to go
hand in hand.
Within the last few years inter
est in etching has greatly increased
in the country. During the past sea-
son three international exhibitions of
etching were held-one in New York,
one in Chicago, one in California
and from all three numerous sales
were made. Besides these, any num-
Der OF exhibitions of etchings have
been travelling to and fro, North,
South, East and West, and there has
been lively competition in their sale.
Possibly to meet this interest, a Lon
don publisher has got out a series of
books on Modern Masters of Etch-
ing, each one devoted to the work of
one artist and illustrated with numer.
Gus full-page fac-simile reproductions of
MS best known works. Now, as a
rule, facsimile reproductions of etch-
lngS are but poor and sorry things,
but in this case they are excellent
so good, in fact, that they vie with
the originals in artistic quality, and
they are absurdly cheap. There are
IL facsimile plates "tipped-in" in each
volume, the price Of which in England
Is only shillings net. Yet here we
have the works of Brangwyn, McBey,
Zorn and FOrain-workS which in the
original bring at public auction TODAY
hundreds, and in the case of Zorn,
sometimes more than a thousand dol
lars What q ho rcaini IIyhn4 n. o,