Evening star., 1925-04-05

a revolutionary in his day-one of the
advanced-but today he is found to
belong to the old school, the tradi-
tionalists, and he is not yet long de-
ceased. Only yesterday, it seems,
was he among us, painting his virile
portraits, producing his striking
etchings with that brilliancy and
dash which still bespeak gallant
spirit. But as compared 10 the
Fromkes' the Zorn paintings seem
very reticent and old style
Fromkes is of today. None will
deny him his present triumph, but no
one who gives thought to such mat
terS can fail TO wonder what the
museum visitor of sensitive percep-
ton and real discrimination will
think of this work 20 years from now.
Has Fromkes said the last word or
is he merely pointing the way to
larger accomplishment? Two of the
museums that choose cautiously and
add slowly to their permanent col
Iectious have bought paintings by Mr..
F'romkes. The Albright Gallery of
Buffalo has bought his "Jacinta and
Her Family" and the Museum of the
Rhode Island School of Design, at
Providence, has acquired his Span
ish Mother" both of which are in
cluded in this exhibition.
Viewed al the length of the gallery,
all of these pictures by Mr.. F'romkes
are impressive, but seen more closely
they are found incomplete; one must
not draw too near. But Mr.. F'romkes
has followed undoubtedly in the foot
steps of Velasquez and Manet. He has
been able to deliver his message with
great brevity in every instance, or
perhaps one should say, with the ap-
pearanCe of great brevity. because
he fact is that many OF these can
vases show laboriouS work if exam
iued closely-paint upon paint, until
surface like enamel is secured. Ger
tainly Mr.. Fromkes has set down
what he saw, so that to the most
casual observer it appears with great
vividness. The figures that he has
presented are undoubtedly types, ex-
cellent Spanish types. His landscapes
are in quite a different vein and are
perhaps more individualistic.. Some
of the smaller ones are charming
real masterpieces. All belong in the
category of the works of the great
moderniSts.
Helen Comstock, in an article in
the February number of the Inter
national Studio, tells something of
how some of these pictures were
painted. In all his wanderings over
Spain she says, "Fromkes never en-
ployed professional mode5 1t was
the people who came into his 'ife that
he painted-the porter, the servants.
the boy in the market, a shepherd boy
In the hills, the friend of friend
these were his subjects. The Belle of
Ronda' is a shoemakers daughter in
that picturesque town of gorges and
bridges, where the houses perch in
significantly on the top of smooth
rock walls that reach down to the
black water" Some of his subjects
he found on the street and often he
had great difficulty in persuading
them to serve as models. This writer,
moreover, quotes the comment of a
Spanish critic upon Mr.. Fromkes'
color, comment so good that it is
worth repeating. He is a virtuoso
of color, most subtle luminist," said
this writer. 1T would be easy to look
for precedents and to find an affilia-
tion with Anglada if we wished, be-
cause of our pride, that all his good
points should be founded upon our
own. He has, like Anglada, those
delicious 'empasts,' delightful to look
upon, malleable and brilliant" which
is very true. And he also comments
upon the ceramic quality" of Mr.
Fromkes paintings quality sug-
Gestive OF that found in the oriental
porcelains.
Such favor have Mr.. Fromkes