Evening star., 1935-03-24

ton and Doris Lee-the works Of the
two last being very small in dimen-
SionS. On the other hand, 50 artists
are each twice represented, while 28l
are represented by a single exhibit.
The representation extends territori-
preponderance. however, from New
York and Philadelphia.
Apparently this jury was hospitsble
not only in the matter of numbers,
but also with regard to the charac-
ter Of work accepted. Wide diver
gence in style and ideal is to be noted.
The gamut runs from the most con-
Servative 10 the extreme. We have
here the abstract and the real works
by the innovators who think they are
breaking new paths, and by those who
are SteadfaStly following tradition. 1t
is a very interesting and thought-pro-
voking display. Great changes have
come over the face of painting in the
last double decade in this, as well as
other countries. At first they came
slowly, but in the last few years they
seem to have rushed upon us with
bewildering speed. These changes are
all reflected in this current exhibition
and here, better than elsewhere, they
may be analysed and studied Here
one may not only gain acquaintance
with present-day trends, but trace
them to their source or sources, esti-
mating their strength and significance.
1t has been often said that art
reflects life, and undoubtedly it does,
but life is many-sided and never has
any art completely comprehended it.
The art of the early Renaissance in
Italy was religious, not political-the
art of Greece set forth the Greek
ideal of bodily perfection. To a great
extent our art today seems to be con-
cerned with the life of the common
people. The aristocracy of art which
has endured for centuries and has
been most closely allied with the de-
velopment of civilization seems to
have broken down, and instead we
have a democracy which speaks new
and yet unlearned language Eventu-
ally something better than what We
have had may emerge. but at the
moment the change is diSrupting.
One thing, however, in this connec-
ton should be noted: This is the sim
cerity of the artists. Quite as much
today as ever. they concern them
selves with the way their paint is put
on canvas, and no less than in the
past do they take their art seriously.
Every one has the right to his or
her own preference and judgment,
but not one can claim infallibility.
and all should strive to keep the
painters point of view in mind
Of the 353 painters represented
in this exhibition at least a third
belong to the so-called conserva-
tive school, sixth may be counted
as of the "adavnce guard" and the
remainder will be found between the
two extremes, which is very fair ap-
portionment Because the new is
more startling than the old the
tendency will be to exaggerate the
newness, but If one will seek out that
which is congenial and desired it
will here be found in fair abundance.
No effort has been made in hanging
this exhibition to classify or segre-
gate schools, and that is perhaps well,
for all art Is one.
The place 'of honor in this great
exhibition has very appropriately been
given to a portrait Of the President,
painted by Ellen Emmett Rand and
lent by the President and Mrs. Roose-
welt. This hangs opposite the door,
way in the center gallery, facing the
grand staircase, where, in previous
exhibitions hung portraits by Sargent,
paintings by Carl Melchers and
other distinguished American artists.
Mrs. Rand merits this honor in her
own right, for she has now for some
years been reckoned among our fore
most painters of portraits. 1t Is
peculiarly interesting to be able to
compare this essentially official por-
trait of the President, painted how
ever as an unofficial commission, with
an informal portrait hung elsewhere
IN thu exhibition Of g. young woman