Evening star. [volume] (Washington, D.C.) 1854-1972, 1926-01-17
BY LEILA MECHLIN.
SELF portrait by Cecilia
Beaux. painted at the invita-,
ton OF the Italian government
i for the Uffizi Gallery In Flor

u
Il ton OF the Italian government
4 \ for the Uffizi Gallery In Flor
ence, has been placed tenor.
arily on exhibition in the C~ofS6ran
Gallery of Art. Needle % say II is
distinguished pi-ee q work-what,
ever Miss Ber-1x does has this quality.
~ rs p -ntfng which when placed in
tha' <1-eat collection Of portraits of
aT-<rsts will be a credit to America and
An occasion for patriotic pride.
Because Of the brilliance OF her tech
meal achievement, the world at large
has come TO look to Cecilia Beaux. is
Il did TO Sargent. for bold brush strokes,
for a kind of articric necromancy
before which the initiated stand with
smazement and delight. In painting
herself. however, Miss Beaux has not
employed this style. Her self portrait
Is essentially reticent. 1t is not the
brush work that catches ones atten-
zion, but the personality portrayed.
1t is essentially spiritual interpre-
tation. though probably this was not
the painters intention. She is one
who has always insisted that she
painted what she saw.
Il is most difficult for a painter or
for any Of us to stand aside and see
ourselves truly. but TO those who
Know Miss Beaux best this portrait
is a truthful Interpretation. oombin-
ing and evidencing strength of char
RCter and forcefulness, with great
capacity for sympathetic understand
ing. womanliness. She has chosen TO
paint herself in a simple gown of cop
perry hue-henna. perhaps against IL
warm red background, an unusual
background, In which there is a sug-
gestion, as in a woven tapestry, OF
massed foliage, and yet an indication
of atmospheric depth. The pose is
characteristic and easy. One hand
rests on the cushion on which she sits,
the figure is erect, the face turned to-
ward the observer. but the eyes look
down as though in thoughtful refiec-
ton or attentive listening. BY her
side, slightly indicated, is her painting
table with oil bottles and containers.
There is no traditional palette nor
brushes ear-marking her profession.
II is not large canvas; 1t will not
Insist upon recognition either by It's
size or its color scheme; it claims
nothing for itself; 1t is essentially mod
est but il possesses great dignity, the
dignity of real simplicity. and it is
an enigma teal Interpretation of per-
sorality, that strange, unexplained
quality which we believe to be eternal
and divine. The head is beautifully
modelled and very directly painted, the
though scarcely more than indicated,
are beautiful in their suggestion Of
competency. It is work which we'll
rewards thoughtful consideration.
To he invited to paint q portrait Of
ones self for the great portrait col
lection in the Ufizi Gallery is one of
the greatest honors, if not the great
est honor. which can come to any
artist 1t was accorded to Sargent
~
American painters. It is given sell
dom and charity. The invitation came
20 Cecilia Beaux early last year when
she was recovering from a fractured
nip as the result of a miSstep on a
sidewalk in Paris in July, 1924. When
1t came she herself thought that she
might never paint again, but not only
has she produced this excellent por-
trait during the past year, but an
other, on order of one of the leading
citizens of Hartford, Conn, which is
said to measure up to her most sue
Cessful works, to be indeed mastery
production.
The invita- ton of the italian govern
ment TO Miss Beaux to Include her
portrait among the portraits of the
great painters of the world was a
tangible compliment, not merely to
the painter but to the contemporary
art of America. 1t is therefore very
fitting that the portrait should be ex-
hibited here in Washington. our Ma
tional Capital, before going to
Florence for permanent placement.
~
GONE time ago Duncan Phillips an
nounced his intention of setting
forth In the little gallery at the Phil
lips Memorial Gallery during the pres
ent season a series of exhibitions
which would give the people of Wash
ington an opportunity to see and to
estimate the work of some of the more
advanced painters of the younger
school, the school of the so-called
modernists. Accordingly, In Deem
Der was exhibited group of paintings
by Bernard Kartiol. who is already
represented in the Phillips permanent
collection and about whom several ar
ticles have appeared in current maya
zines. The first of January this gave
way to a mixed exhibition, announced
in these columns last week. of Is
paintings In oil and water color by
nine painters, six of whom. at least,
have not previously exhibited in
Washington.
This group, according to Mr.. Phil
lips own statement published as an
introduction to the catalogue, illus
trateS one of the important phases. Of
modern esthetic expression, the phase
in fact which bears the most conscious
relation to the age which produced
IT." II IS the product more or less,
undoubtedly. OF cubism, and Is an at
tempt on the part OF the painters to