Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-01-27
BY LEILA MECHLIN.

Is entitled "Mano the Dancer,
and was painted by Andre De-
rain, who is considered by at least one
cotemporary critic the greatest artist
Of today, his only rival being Pierre
Bonnard. who ranks ilrst in the opinion
Of such authorities as Ellie Faure and,
1t 10 understood, Julius eier-0raefe.
Mr.. Phillips says In referring to this
picture: zone OF the most rewarding
experiences which comes to the COLI
lector OF contemporary art Is the occa-
sculpture which connoiSSeurS promptly
recognize as belonging ct once to the
ages, as endowed with that living and
hfe-gtving quality which gives to works
Of art imperiShable vitality and renown.
Last year I acquired two works Of this
supreme kind-the marvellous portrait
in plaster of Thinking Woman by
Charles Despair, and Derain's noble
classic landscape of Southern France.
This year have added to the collec-
ton at least three other contemporary
works destined to rank high among the
irnmortals in the opinion Of the best
judges. Many WaShingtonianS have
seen In our gallery since last october
The Palm They will remain on the
walls until the end of January, but not
after that date. II these glorious land
EapeS have not made hearts beat
faster, am deeply disappointed. Such
senSibihty as they reveal Is not given to
the ordinary eye, but once a man Is
initiated into such raptufous vision the
earth can never be the same for him
again"
with special emphasis on "Mano the
Dancer" he adds: II was one OF the
first TO see this picture after its arrival
at the De Hauke Galleries In New York,
and purchased it at once. Leaving 1t,
therefore, an exhibition at Reinhard'S,
was not at all surprised at the storm
OF applause from press and public which
greeted 1t Immediately"
Elisabeth Luther Cary, art critic of
the New York Times and author of
numerous works on art. wrote Of the
exhibition In New York where 1.-THE
Dancer" was introduced, as follows: 1.-THE
great surprise Is the portrait by Derain,
q loan from the Phillips Memorial Gal
lery in Washington. II Mr.. Phillips
has waited for Derain completely ma
tufed and meliowed his patience has
been nobly rewarded. ALI the hardness
and external austerity has gone from
Deratn'S mood. The pigment flows
from . brush as caresSing as Renoir's
anu 40I uaO1C CSIk6Au % 1bS OCStikkdtlOIL.
All the objective charms Of the subject
are noted, the smooth, frm. fneness of
the skin, the softneSs Of the red-brown
hair, the liquid glance Of the fine eyes,
the 1ilffy, dainty ebullience of the skirt,
ruined like the feathers Of an agitated
bird composing themselves to rest. An
enchanting hgurel A true masterpiece!
with the prize winning still Life an
chered IN the Carnegie Institute at
Pittsburgh and this living stiffness in
the Washington gallery there will be
no further excuse for ignorance on the
part Of the American public Of Derain's
greatness"
The painting recently acquired by
No: Phillips s now hung in place Of
honor centering the east wall of the
Phillips Memorial Gallery. and there
It takes It's place with masterpieces
such aS Renoir,s "Dejeuner des Cano-
tiers" and other works by the foremost
old and modern masters. II Is one of
these great works about which there
can be no disagreement. 1t Is only in
connection with the works that are
partly good that there Is diSSenSion, ar
gument. Every one must recognize In
this O work OF Superiattve merit. Sim
pie and strong and Sculpt1resque, IL
Is ut the same time subtle. withdrawn,
as 1t fnterprets the spirit as well as the
body. The flesh Is exquisitely painted
and glows With modulated, luminous
color. The background of green. with
its fadiAting lines, not only throws the
figure into relief but Is an element In
the design. The heSh-colored satin
bgassiere and the white fluffy skirt are
brilliantly painted. The work possesses
aR amazing poise and, therefore, repre-
SCENTS stiffness, silence. repose-is re-
moved from the present. and yet ex-
trenely vital.
No wonder walter Paeh was prompt
ed to say that students ought to come
from Alaska and BuenoS Aires to see
this picture" The concensus of opin-
ion seems to be that there has been
brought to washington by Mr.. Phillips
at this time one Of the greatest pic
lures painted during the first quarter
Of the twentieth century. Realizing its
opportunity the washington public will
undoubtedly take early occasion to see
the work.
&t&A&
"A ANNOUNCEMENT Is made by the
"a Phillips Memorial Gallery that In
February there win be o second exhibit
ton OF the water tcolors OF John Ma
rim, this time La the little gallery.
which they viii occupy alone. In the
transept OF the lower gallery VIII be
assembled about is examples Of the
work Of the late. Arthur B. Davies.
shat great visionary so lately vanished
from q world where he often seemed q
mysterious stranger from some other
sphere" This memorial exhibition.
Mr.. Phillips says. will, however, reveal
engaging human qualities in Davies
which made him delightful painter OF
landscape with children and animals. ="
In the lower gallery after February ]
the symbolism exhibition win continue.
subject to changes, just as the main
gallery viii continue to be an illustra-
ton Of the text that art is interna-
tionai. The Daumier and the Ryder
units, Mr.. Phillips says, now on view
win remain on the walls, as they Will
only enhance the beauty and help to
place the genius Of Arthur B. Davies
Later exhibitions in the little gallery
win comprise the works Of the Russian
naodernist, John D. Graham and Mar
torie Phillips.
KARL ANDERsoN's paintings nov
ON view at the Yorke Gallery are
unusual N character. They are ex-
tremely coicrful, they are very com.
pick and while representing for the
most part familiar subjects, even COM