Evening star., 1936-09-12
Art Notes
Continued From Page B-3.)

its maker.
One thought that the visitor takes
away from this exhibition is the loss
that has come to us through the ad-
vent of mechanical means of produc-
ton. Folk art, as Mr.. Forbes reminds
us, "flourished in America for 200
years, until the middle of the 10Th
Century, when mass production by
machinery began to crush the Gre
ative spirit Of the individual crafts
man." This is misfortune and one
which We should set about to remedy
If it Is not too late. Happiness to the
individual comes through co-ordina-
ton Of hand and brain, and the Gre
alton of things beautiful as we'll as
useful Such occupation has higher
value than leisure even when pleaSur-
ably used. Not only does the Harvard
Tercentenary exhibition re-create the
past but points new ways to the future.
THOSE who attend the Tercentenary
exercises at Cambridge next week
should not fail TO see, not only the
special exhibition in Robinson Hall,
but also the exhibition Of German
Primitives set forth in the Germanic
Museum. rare and delightful display.
This consists of paintings produced
between 1850 and 1850, II in number,
lent for the most part by private col
lectors. Among the lenders are Mr. and
kHrc Dnbort yIyo,%dc nyis, of Wy. .hlxc
ton, who have contributed a portrait
of Mary Of Burgundy by Bernard
Strigel. There are two Holbeins here
one a portrait Of Dirk Berck-a superb
painting-and another of Sir Henry
Guildford, done In England and once
included in the Arundel collection.
There are several by Cranach the
Elder, among them a charming por-
trait, unforgettable. of the Duchess
Sibylle OF Saxony. There is q lovely
portrait Of Queen Anne of Hungary by
Hans Mailer Zu Schwaz and q memo
rable Presentation in the Temple" by
Johann Koerbecke.
Strangely enough, there is some
thing very modern about some Of
these very old works. Charles L.
Kuhn, curator OF the Germanic Mu-
scum, In his Introduction to the cata-
logue Of this exhibition. stresses the
rarity OF these works as well as the
individuality Of the artists, which he
declares is part Of their charm. He
does not explain why such an exhi-
bition was selected for this particular
time, but one may therefore be al
lowed to surmise hint of antedating
achievement. There was something
before Harvard rose on the banks of
the Charles-there are deeper sources
from which We may still drink, and
fortunate 1t is that we are wise
enough to seek them. Also, the best
of the old Is still modern, for us as
well as for them; and thus it will al
ways be.
THE Fogg Museum has put on no
special show for the tercentenary
OF Harvard, but 1t does not need to
its permanent, though changing. col
lection is so fine and so admirably
chosen and related. No little museum
in this country, perhaps in the world
Is so satisfying and rewarding. The
building itself is well designed and
planned. There is nothing in excess
"a rich feast is provided but not in
such wise that 1t satiates. On the
first floor are rare examples OF sculp-
ture and the decorative arts and
prints; above stairs are paintings, fur
niture and craftwork. In the room
devoted to modern French art is, at
present, to be seen a unique bronze
figure OF a ballet girl by Degas-a
striking instance of genius manifest
ing itself through an unfamiliar me-
dium, for DegaS was primarily a
painter. On the walls of this gallery
are several canvaSes by this modern
master either recent acquisitions or
loans. very significant-one Of Negro
woman at window, another OF an
interior IN which a man is seen at the
door, q woman seated in a chair with
detection In every line OF her body;
a lamp burns on q center table diffus-
ing pale light. 1t is a mastery
work, in which the colors sing as in
a musical composition, and all tone
values are perfectly related.
In the Fogg Museum is a tablet in
memory OF Charles Eliot Norton
which is a unique and splendid tribute
to an art critic and teacher, whose in
fuence was both benefcent and far
reaching. II reads as follows
Charles Eliot Norton. i827-l908
Professor OF the History Of Art In
Harvard College; l8s5-l89S, Chron-
icler and Critic of Letters, Art and
Life; a Master OF Friendship, Ar
Apostle of Beauty he taught an un-
seeing age to see" And being CON-
pletely trrie it Is the more moving
who shall say but what 1t may be tc