Evening star., 1925-08-02
BY STERLING HEILIG.


are going to exhibit their
newest pictures in America
i this year.
This year, more than any
other, the Carnegie international ex-
hibition will show, in American cities
a salon of the worlds art--Paris and
London being, truly, local in com
parison.
For the first time, also, the great
annual picture show will be seen in
its totality outside OF Pittsburgh.
Homer Saint -Gaudens. director of the
Department of Fine Arts Of Carnegie
Institute, has completed his tour of
Europe, selecting paintings for its
twenty.fourth international exhibition
which will be shown at Pittsburgh,
and then In the Philadelphia Art Club.
the Grand Central Gallery OF New
York. and the City Art Museum of
st. Louis
In conjunction with NJ. Guillaume'
Lerolle, foreign representative of the
Carnegie Art Department, Mr.. Saint
Gaudens has just given me the ad.
vance facts.
1t is not only that the show goes
intact, for the first time, to other
cities outside OF Pittsburgh.
1t is the first time, also. that it goes
to the Grand Central Galleries, in New
York.
1t is the first time that there are
German and Austrian sections since
the war. These are important.
1t is the first time that a member
of the international jury of awards
has been chosen from outside OF
France or England. The foreign
members of this jury are now Ernest
Laurent. well known impressionist
painter of France; Algernon Talmage,
sron IN nlannanfS
in English landscape" Il quote Saint
Gaudens), and Anglada, who ranks
l'in Spain as high as anybody as a
tremendously brilliant impressionist
and realist. %"
They come to America for the
awarding OF honors and the Carnegie
money prizes, which, with the great
annual buying by Carnegie and
others. draw the greatest painters OF
Europe to the world salon in America.
**
THE most general real interest In
art today lies in England, says
Saint .Gaudens.
English art is not important official
ly. like French. There are not nearly
as many artists or shows; but their
exhibitions, whether academic, like the
English point of view, like the new
English Art Club or the Chonil Gal
leries, are full of people.
"Englishmen go to their art shows
in droves, and, for Europe. they actual
ly buy an astonishingly large number
of paintings. Therefore, English
artists. to crafty the demands OF
real public, are making great advances
in craftsmanship, imagination and a
tn fy decorative n
stincts of their age.
Leaders OF all the English schools
are exhibiting with Carnegie: ID The
academic school, of which Sir William
Orpon tremendously important in por-
traiture, the most important thing the
English dol and Ambrose MacEvoy
are representatives. t2) The academic
landscape school, with men like Ansby
Brown and Sir David Cameron. t3)
The tremendously strong school of
academic painters doing decorative
allegorical canvases. unique In Eng
land. Colin Gill, Glyn Philpot and
| Frank Brangwyn are good examples.
'In England, next. there is "a a
mildly advanced school, naturally
headed by Augustus John in portrait
ure and Mark Gertler in decorative
pieces. Finally. there is 6l the ad-
vanced group. with Paul Nash and
Ethel Walker as examples
France still stands unique.
France has the tremendous back
ground of her past and the fact that
in Paris. more than in any other city,
there are artists, exhibitions and deal
ers. Paris is still, unquestionably,
| the mecca of the youth Of art, num-
| bering them by tens of thousands, and
that is true!
"A large portion of French art is
still squarely radical" says Saint eau
dens, although there is a distinct
| tendency toward a more conservative
aspect.
"Of the academic men. one thinks. of
course, Of Bosnard. head of the Ecole
| des Beaux-Arts, member of the In
| stitute. ETC.: of Rene Menard, with his
decorative canvases, and of La Sida-
ner In a group which is rather newer
| without being called advanced will be
seen. Ferain, Signac and MarQuet.