Evening star., 1932-12-09
The Corcoran Biennial Exhibition

Any biennial exhibition at the Cor
coran Gallery Of Art Is an occasion of
interest and pride to Washington, but
the present show is Of especial signifi-
canoe for reasons which deserve COM
ment.
What is the purpose of the exhibi-
ton? As summarized by the trustees,
it is ito present to the public, with
the close cooperation Of our jury an
exhibition of oil paintings by living
American artists which accurately re-
fleets the trend of contemporary paint
ing in this country; which illustrates as
completely as possible what American
painters of today are doing; which is
broad and truly representative in its
scope and character, and which in
cludes the best available works exem-
plifying the different schools and phases
of painting as they now actually exist"
This statement merits thoughtful ex-
animation. 1t indicates that the trus-
tees aim to provide the art-loying pub
lie with the materials from which to
Judge the present state of American
painting. The pictures of artists of the
past are not shown; only the represent
ative works of men and women who are
now painting appear. If art in the
United States is declining. the exhibi-
ton should demonstrate it. If, on the
other hand, it is prospering, proof of
that happy condition must be available
in the pictures on the gallery walls.
The public, viewing the show, may
decide that American art is, in fact,
languishing. But if that were the
verdict, it would be unscientific and
unjust. Critics of all schools, profess
sional and amateur, visiting the exhibi-
tion, have agreed on the esthetic
vitality manifested in the three hundred
and forty-three pictures entered. The
exuberant animation Of the present
biennial is its glory. Only creative
spirits passionately alive and intensely
sentient could have produced such
vibrant, colorful and memorable work.
Naturally, there is wide variation in
subject and treatment. No two in
dividuals see alike, no two have the
same concept of beauty. One painter
may be almost meticulously photo
graphic; another, with greater power
of imagination, may be strikingly radical
in dealing with things utterly common
place. But, since the trustees, delegat-
ing their authority for the occasion to an
untrammeled jury of professional paint
ers, are liberal in their attitude toward
the artists, 1t is not too much to expect
that the public likewise will be tolerant.
There are pictures of all types on dis
play. Some will appeal to many visitors,
some to only few. But all are neces-
sary to the fulhllment of the trustees
ideal of truly representative exhibi-
tion. The catholicity of the show is
intentional, and it is abundantly
justified by the essential tonicity which
the pictures reveal.
The point will be eminently clear and
plain to those who can remember the
biennials of years past. 1t would be
obvious to every one II the trustees
could reassemble the pictures shown in
say, 1907. 1t is evident to those who
view the collection of former prize
winning pictures especially assembled to
offer contrast to the present display.
Almost every one Of these canvases was
adversely criticized at the time Of first
exhibition and subsequent purchase.
The particular significance of the cur
rent exposition is its exciting proof of
the creative resources of contemporary
painters. Art must be gloriously alive
in country capable Of such a demon
stration.