The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1927-03-23

hibitionn now on view IN the gal
leries at the John Heron Art In
stitute, displays a character of its
own while reflecting tho general
tendencies Of the times. The mod
ern preoccupation with pattern is
abundantly evident. The carefully
considered. composition is today On
prime Importance, and convention
allied forms are replacing natural
istic interpretations Of nature.
Sculpture as well as painting has
felt these influences, and both fields
of expression have been vitalized by
the Introduction Of design. There is
a rigidity in formal sentimentality
thata is unsympathetic to the sugary
sweetness-the sentimentality that
was conspicuous in the Victorian
period. and, though frowned upon
for long span of years, has yet
managed to survive until the pres
ent day.
Now its doom is sealed. Senti-
mentality is too fluid to be confined
in the crisp, bright, uncompromis.
ing patterns that the modern aesthe-
tic sense has stamped with it's APP
prevail. But not all art lovers have
abandoned the old time standards.
We cannot all be "moderns" and
there are not a few of us who visit
the galleries in the hope OF lingering
fondly before some pretty dreamy
little landscape that just grew upon
the canvas and was not systemati-
cally arranged there. Such seekers
after sweet informal beauty will not
leave the exhibition unsatissied.
There are still artists in Indiana
who cling to the traditions Of the
past-not the dull old past-but the
fresh, atmospheric fashion if i'm
pressionism. The pleasant, har-
moniously toned study, Grandma
Barnes" by Dale Bessire, may be
termed picturesque.
This word has fallen into disre-
pute and has no place in the vocabu-
larry of the critic of modern art, but
Mr.. Bessire makes no pretentions to
being modernist and his paint
ings have a quality that is best de-
scribed in the quaint phraseology OF
a less spectacular day.
Carl Graf is one who clings to the
sympathetic straightforward de-
lineation Of natures charms and
moods. There are three canvases
Of his In the exhibition. His high
I.o-,o5 .r-{~ o-4i,,,a 0,.obovJc hox,A q
delicacy that is lyric in its essence.
". J. Cariani is another painter who
approaches nature frankly in a
humble mood and pays graceful
homage to the beauties Of the
earth.
His "vineclad Trees" is an am
bilious composition with a fore
ground Of complicated detail deity
handled, and a melting, atmospher-
10 background. William Forsyth
emphasizes the new note Of simpli-
fed design in both his landscapes.
He has been caught by the strength
and the rhythmic accent of the new
school, and he has launched him.
self on the uncharted seas. These
first ventures in a manner foreign
to his well-known style, hold very
special interest for those who know
and appreciate Mr.. Forsyth at his
best.
Back Yard" by F. Louis Schlem-
mer, is notable for the holiness of
its technique, the rough and spark
ling texture Of it's surface. Hale
Woodruff in his Road over the
HILL" employs a rough, splashing
manipulation Of his medium that
is effective in it's results. In con-
trast to these two. Clifton Wheeler
spreads his paint clearly and dexter
ously working out decorative
schemes with a delightful luminos-
ity of color.
Francis +. Browns dramatic sense
pervades everything he paints.
There is in his work a theatrical
element that is related in no way
to the art of stage presentation.
Past the Trees" is his contribution
to the oils in this exhibition, and 1T,
like other beautiful yet weird land
scapes from his brush, emanates an
electric suggestion Of suspense, pro-
claims itself the record of breath
less moment.
The tendency that manifests it.
self in the art Of the hour. the pas
sion to present an idea simply, bald
ly, brutally, scorning finesse and
subterfuge, Is abundantly evident in
the collcctjRn of Fifty Prints Of the