Evening star., 1925-11-22
Art Group in National Gallery Srkingy Registers Emotion
Venomous efforts. It's d,
reads:
In its blind rage
Hatred. the ugly brute.
Will aim 30 hard
That IL hurts hut itseIF

Will aim hard
That II hurts but itself.
Scream" fairly rends the air in it's
Wild, pointed design and casts a
shadow of itself which seems to linger.
Its artist writes:
Like tearing irto silk or stai,t,inr flesh
cream VIII render the sincws of ones
Leaving behind the ugly stencil of fear
There is much in the portraiture OF
wisdom for the contemplative mind to
grasp, but the pyramid in the picture
is OF absorbing interest. Who Is there
who has visited these enduring
mounds of Egypt who has not felt the
secret knowledge which thev hold, and
who has not felt his own inability to
| understand even that which they have
presented TO the world through the
ages? Wisdom's Interpretation reads:
| In mystic dignity and quiet reposing
Iron the solid ground of ,vondrous deeds.
Cnhsralded and oft misunderstood
WISDOM contents Itselt with patient wait
| Resting It's faith with perpetuity.
PRAYER" seems almost TO lift it's
| hands in suppication. The foundation
| OF the design shows A gleam of red.
which may mean that courage comes
when prayer is first uttered This re
| licious supplica ton seems TO grow IN
strength and continually rise through
| dark colors of despair or through the
grace of the spiritual, heavenlike blue
| and on TO the attainment of its peti.
lions in the glory OF golden yellow.
The idea Of the picture is described
| partially by it's author:
| The depths Of fear and sorrow and Of carr
arc pierced and banlshed by an ardent
| That seeks and finds Iif.s greatest pleasure.
| THE painting of "Inspiration" has a
charm all It's own. The fore
ground, with its waves and scrolls.
strikes one as the field where ideas
arc born, and from its hidden ores a
| tiny spark starts up and flares into a
| flame of genius encouraged by favor
able circumstances. The analysis of
| inspiration by the artist is POLITICALLY
| impaired in his description:
Just as tiny spark
May set aelaze gorgeous edl hce.
| SO inspiration might. il caught betinles
| dullard INTO genius turn.
| In symphony" one feels that the
| pipes Of music are all in harmony. FOR
| tiny wires show that they are atune
one 10 the other. Beautiful feather
| like clouds indicate the very peals OF
| melody.
Love is looked upon from so many
| different aspects that perhaps that
| picture IS susceptible OF more different
understandings than any other in the
! collection. Love appears to be spring
| ing sponta aneously from small be-
| ginning in a garden plot of other good
emotions. but ii grows with such sud
denness and vigor that it eclipses them
| all. II spreads almost like fire Its
explanatory poem is helpful
| The burning hame Of are.
| Al consuming. needing nausht.
| Love. liies eternal mystery.
| VIII make or break. handle 1t with care
|
| nortraiture and is suggestive of the
cathedral arch hung with an ever
burning light. II carries the poem:
The nohlest and the lottiest of all our sen-
Is that which ought to live in our hearts
fror1 morn III night,
Can maxi q. or rea5s fes wond ~ s5ug
| Gods eternal love.
After studying the imagery of hu-
| man faults and virtues in color and
| form. one is the more ready to realize
| the splendor in meaning of the one
| spiritual Interpretation of the collec-
| tion. God is symbolized by the great
| light which pours itself out, dispelling
| darkness and permeating the most SC
| crct places, yet with no f1amelike or
consuming property. The true mean
ing is personal with each individual
| but the picture recalls the words o.
| the canticle. To give light to them
| that sit in darkness and in the shadow
Of death and TO guide our feet In the
| way Cf peace
| In Browning'S comment on the step
in art between that of the Greek sculp
tors, who showed only the physical.
| and the work of the early Italian
painters. who produced at first crude
canvases depicting qualities of soul in
| portraits of men and women, he de-
| clared that the first of the new art
beat the last of the old. In this new
art of today, where emotions and no
| persons are pictured, Browning's
thought IS accentuated:
Bring the invisible full into play
| Let the visible go to the dogs what matters.
Victor de kubinyi. who was born In
| Hungary of noble parents, but who
| has lived in America for 20 years, pro.
duced these pictures at various times
| by concentration upon the various
emotions. Drawn AT first hurriedly.
they were later carefully executed in
colors. Though the author has never
| received instruction in art, critics pro
| nounce his work as that of an artist
They praise his colors and technique.
| tCopyrEht. l925D