Evening star., 1934-02-11

both for study and discussion 1t
is distinctly modernistic more SO
than the previous show in the same
rooms, perhaps than any SHOW SCI ioi'AI
under these auspices.
But what is modernism? Is 1t the cult OF
the ugly, an attempt to flnd ABSTRACT VISUAL
expression, effort to reduce graphic art 10
the lowest common denominator through eA-
treme simplifcation? Perhaps little OF all
these things but certainly a breaking away
from the traditions of taste that have persisted
not merely for generations but centuries IL
is not however an isolated phenomena. we
have modernism in literature the drama,
music and dress, and it must be recognized as
S mptomatic of the times. 1t is no mystery
nor magic, and the sooner we cease to regard
it as such the sooner we shall be able to under
S and it and distinguish between the good
end the bad Years ago when the arts ana
crafts movement came along, there were those
who thought that the virtue OF handmade arti-
clss of decoration or utility lay in their rough
ness of finish, irregularity and clumsiness OF
execution, forgetting, or perhaps never KNOW
ing that the great craftsmen of all time had
wrought with q skill and exquisiteneSS Whch no
machine ever rivaled, much less equaed.
-I.ery great artist is an adventurer, seeking
out new trails but there is neither adventure
V.or discovery in bad craftsmanship and crude
.1rushwork-these in the field of art we have
always had with us. To draw and paint oaoiy
is not to be modern, as many seem 10 tnlhk,
but to be commonplace.
On the other hand, drawing" and painting
are not the only criterions of art. The lesson
that the great Century OF Progress eXhlbtion IN
Chicago taught the observant visitor was that
there is not but many right ways OF
painting Painting, drawing, etching are
means of graphic expression and must be
judged largely by result-the perfection or I'M
perfection of attainment to this end. Modern
art which has nothing to express, that Is ab-
stract to the point of being unintell:gble, that
is crude and immature merely, does not de-
serve the name and parades, as it were, under
Vase colors
.-aese thoughts and inferences are called
fc II and exemplified by the works shown In
the exhibition at Studio House, which includes
b1th the good and the bad-that which is
uruly modern and that which is only modern
b1cause it employs temporarily popular
ve-uacular.
For instance, the good: In the hallway, and
as Introductory, group OF prints by Daumler
set the pace for group of thoroughly engag-
ing pictures of contemorary life by young
Italian sojourner in New York, Frank di Gioia.
Daumier was prolific producer, making draw
ings continuously for the French newspapers
and other publications, drawings which bore
upon the life of Paris in his time. and with
special significance, and were understood with
out explanation by the common people. But
he was a great artist-a great painter as all
who are familiar with the Phillips collection
know full we'll He was a Skilful craftsman,
an individualist but it is safe to hazard that
his first thought was to give adequate express
to the subject that he wished to present
Dl GOia seems 10 have been similarly actuated
and his works for this reason carry conviction.
them one SENS to see sincerity skill and
[ Unite purpose. No wonder they are finding
. .chaSerS
rorie Phillips two paintings, Base BALI
: Children on Beach, which hang side
. size in the front gallery, have the same
nj with OF ha ipna Of
r2.vette. Whatever Mrs. Phillips paints has
simplicity and charm That subject such as
blse ball could be rendered with such delicacy
and subtle feeling and yet retain its virility is
remarkable.
There is wide difference between these
works and those of John Kane of Pittsburgh,
who, it will be remembered, to the astonish-
ment of all, doubtless himself included carried
off a prize in the Carnegie international by
one of his first paintings couple of years ago.
Kane is a house-painter and mechanic who
turned to art recreation. He has had little
or no instruction. Under these circumstances
his paintings such as Sunday Afternoon.
Beechwood Boulevard" and Castle Shannon"
in this exhibition are amazing but judged by
the standards of great works. they certainly
appear purile and weak, lacking in construc-
tion and in command of medium.
It Is a strange and interesting thing that
the so-called "Modernists" have gradually
turned from things abstract and symbolical to
things factual and now seem to vie with one
another in setting forth with stark realism
things seen-the drearier and less beautiful
the better. Oet it be whispered Softly-theSe
are the easiest to paint impressively) What
is either lovely competent in Milton Averys
rendition of "Gorton Fisheries" so poorly COM
posed. so haltingly rendered and so absurd in
effect? Where is the charm, inherent TO the
subject, in Harold Westons New York
SPRING? DispeIed, perhaps, by the too evi-
dent misuse of paint and the painters self
Consciousness. Yet Weston has produced ex-