Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-03-23

decorative panels At either end there win be
great 1unettes
Studies for these decorations, one-third in
size, are now on view In the large lower room at
the Phillips Memorial Gallery, after having been
shown earlier in the season in New York.
These paintings are somewhat similar In
character to the paintings by Mr. Tack already
owned by the Phillips Memorial Gallery, but
they differ in that they constitute q related
series. Like the panels with which visitors to
the Phillips Memorial Gallery are already
familiar, these decorations are purely abstract.
Nothing Of their kind has previously been pro.
duced. In color and form they would seem TO
parallel musical compositions. which each IN
dividual must interpret according to his or her
own understanding.
Writing Of these panels, Mr.. Phillips says:
"Creat compositions in music need no literary
interpretations. Program notes expressing the
subjective reactions Of an individual critic or
commentator may or may not prepare the minds
and the senses Of concert audience for the
most alert and sensitive reception Of the ordered
and rhythmical sequence Of creative sounds.
Great compositions of color are no less inde-
pendent Of the written or spoken word. just
as the critic can never be sure that ne has justly
interpreted the creative artist, the artist him.
self can never communicate in words a SYM
bolism which he has conceived wen Is ex-
ecuted 50 SYSTEMATICALLY in color. Mystical
thought In painter who is q painter and not
literary man requires color for its expression.
Whatever the painter himself can tell Of his
own symbolism Of the inspirational origin Of his
creative designing, and whatever any critic can
read into the artists distractions through sym.
pathetic revertes may or may not prepare the
mind and the senses Of other beholders for the
most alert and sensitive reception Of the
ordered and rhythmical sequence Of chromattc
tones"
Therefore, Mr.. Phillips does not attempt to
give, In his Introduction to this new series OF
paintings, his 0wn explanation Of what they
mean, but he does, as . matter of record. re-
peat what the painter himself has told him Of
his conceptions for these great works, prefaced
as follows: Tack" he says, "is devout mystic
who sees God In everything. He is inspired with
the mysticism Of an active Christianity rather
than Of passive Buddhism and so his decora.
tive imagination is dynamic, sensuous and joy
Gus with the energy and the gayety Of those
armored with the spiritual strength concerned
with here and now and not alone with here
after. He afRrms his faith In divine purpose
through his grand patterns, and 1t is as sincere
q faith as ever inspired the Gothic builders.
These new decorations by Tack are compre-
hensive in their symbolism Between the two
mysteries Of LIES beginnings and its end surges
the restless stream Of human consciousness.
Rhythm, order and balance are the active or
ganic principles Of life and art Ecstasy, grief
and fortitude, these are the great emotional
states Of being Exaltatton and hberation-foT
these denominations life evolves"
But Mr.. Tack has given them names. One
Of the lunettes Is entitled Ecstasy" Four Of the
corner panels convey the idea Of the "Outposts
Of Time" the borderlands Of eternity.
In color these paintings are exquisite; m
form and pattern engaging, but vague. Mr..
Tack himself has characterized paintings o.
this sort as Fairgrounds Of the Imagination