Evening star., 1926-05-13
THE NORTH WINDOW
By Leila Mechlin.

gallery OF mOueFn ART, sifnldr III
scope to the Luxembourg. where
works by cotemporary artists can
be tride out. as 1t were, and, II they
stand the test OF time and public
opinion, can later be transferred to a
perma nent national gallery. 1t is not
a bad idea, but there Is no reason why
each museum in the country might
not put ii into effect IL iteso desired.
on a small scale-that Is. By setting
side one gallery for such purpose.
Complaint Is often made that the
museums Of the country are not In.
terested in cOtempOrary work. ana
to an extent 1t is true, for 1t is not
easy always TO tell whether or not a
painting or q work in sculpture Is
going TO stand the test imposed by
museum standards generation
hence, when the glamour OF the pres
ent is past and personality Is no more.
In regard to the great art OF the past,
radicals for the most part and tradi-
tionalists are agreed, and this is a
fact worthy Of noting. because we
hear so much more of differences In
these camps than Of agreement.
Wherever perspective exists great
art holds it's own. 1t is only where
art has to be viewed. as 1t were, at
arms length that there Is a difference.
-
the way that fashions In art change.
Looking back over the past hundred
years, one may observe works which
have suddenly risen and fallen in
value Why?-because they represent
the superficial spirit of their own
time and are not imbued with that
fundamental, simple merit which con
stitutes perpetual worth.
4
The Luxembourg has recently been
rearranged. The new director has put
into effect complete houseclea ming
All the galleries have been rehung
some OF the old familiar works have
d isa ppea red. and in their places are to
be found examples Of the works Of CO.
temporary painters - pa inters who
have ventured into new fields in the
hope Of discovery. obviously there
are those who grumble, for some
never wish anything cha anged, but not
few express va tisfaction and incline
TO the belief that the old look better
than they did and that the new hold
their own in the distinguished com
pany.
1t is the custom of the Luxembourg
TO send out to provincial galleries
paintings which 1t can spare. Obvi-
OusIy these are not its best. and in
France the provincial museum accepts
these exhibits not only with good
grace, but with evident gratitude. a nd
makes much Of them. There are in
this country good many works ot
art, once much priced. stored away in
the attics md cellars OF art museums
but the provincial museums neither
solicit nor desire their loan. The IL
niest. newest museum in the country
| wants the best. and only the best. and
perhaps IL is well. But because art
sta nda rds can never be fixed and n1
single director or boa I'd of directors l.
endowed with all wisdom. no institu
tion can afford TO accept for perpetual
exhibition any collection beQueathed
or bestowed.
The late Jeptha ii. Wade. for ma ny
years president OF the Cleveland Mu
scum OF Art and lately deceas sed. set a
splendid example in this particular +
When he gave his notable collection
to the Clevelan nd Museum he was ask
ed If he would prefer to have 1t shown
perma nently in separate galleries a nd
known as the Wade collection. His
reply was In the negative. The value
of such a collection, he Sc Id. was in Its
rela ation to other exhibits. therefore
he gave it without restriction to the
Cleveland Museum. leaving it's future
use to the wisdom of coming direc.
tors. Here was a great confidence
displayed. a great munificence. sense
Of the public good.
We hear much "a Id today In regard
to cherlshing youth. Many warnings
are issued In regard to repression
10 do
tected and never rudely shaken. but
curiOusly enough. youth seems par.
ticuisrly well equipped AT the present
time ito take care OF itself. II has a
courage, an a assurance. a self posses
sion which perhaps II has never
known In the past. And who knows
but that this augurs well for the fu-
ture?
young artist. speaking Of herself
and a group of her contemporaries
said the other day. We aren't i'm.
portant vet but in 10 years we shall
he" and she said it with'that assur-
ance which comes of positive knOwl-
edge. not in braVado. not as an idle
boast. All that these young people
want to achieve greatness is the op-
portunity for work. the opportunity
to prove their strength. their ability.
What splendid courage, what a glori.
Gus outlook. No doubt, they will at
tain.
This is what all artists really want
not patronage; above all. not char
ity. When the great White City In
Chicago was built on the shores of
Lake Michigan the artists Of the
60 cortntry-untried artists. In many In
stances--were called upon for hercu
lean accomplishment. SculptOrs who
had never done anything In the way
of monumental work were given com
missions for monumental groups.
Painters who had produced only easel
, pictures were commissioned to paint
great murals-and how splendidly one
and all rose to the occasion--sO splen.
didly, in fact that art in this country
was given a tremendous impetus. an
impetus under which ii is still ad-
vancing. What the artists Of our
country need today is this same or a
similar opportunity commissions for
great works given with great faith in
their ability. Those who have the de
sire To advance art. to benefit artists,
will do much IL they provide such op-
portunities.
4 ~
Probably more commissions of this
sort and more work of a monumental
character is being done in this coun.
| try at the present time than many
suppose. J. Monroe Hewlett, archi-
! tect and mural painter. has lately
completed a series OF four large mural
decOra tions for the lodgerooms OF the
Brooklyn Masonic Temple. These
represent graphically THE Builders
Of Solomons Temple" THE Builders
Of the Acropolis. "'rhe Builders of
The Forum and "The Cathedral
Builders" One large wall Is given tu
ga ch theme, which in each instance
| is beautifully set forth with true dec
orative feeling and great simplicity
, and distinction of style. Mr.. Hewlett
has also lately executed two impress