Evening star., 1937-11-13

most. famous French moderns, Gau-
guin, Van Gogh, Cezanne, Seurat and
Renoir. Two of the works by the
last were included in the great Renoir
exhibition held in the Metropolitan
Museum of Art last summer. One of
the Cezannes comes almost directly
from the notable Cezanne exhibition
held this autumn in San Francisco.
Two of the Gauguins and one Van
Gogh are lent by Mr.. A. Conger Good
year, president of the Museum of
Modern Art, from his own collection.
Mr.. Stephen c. Clark has made VAL
liable contribution in The Gard Play
ers" by CeZanne, La Petite Margot
Berand' by Renoir, Side Show by
Seurat and Cafe at Night" by Van
Gogh, all well-known canvases. while
from Mr.. John Hay Whitney, Mr..
Adolph Lewisohn. Mr.. Robert Open
heimer, Mrs. Dwight Davis (chair-
man of the Washington Committee),
DR.. and Mrs. Bakwin, Durand-Ruel,
the French galleries, Wildenstein
Co, and last but not least, the
Lille Bliss collection of the Museum
of Modern Art, have come other val
liable loans
Washingtonians have long since
become acquainted with the works of
four of the five of these masters
through examples owned and ex-
hibited by the Phillips Memorial GAL
lery, such as the Lunch of the Boat
ing Party by Renoir. Self Portrait"
and Mont Saint Victoire" by Ce-
zanne. Public Gardens at Aries" by
Van Gogh, and "Idylls of Tahiti by
Gauguin, but this acquaintance may
now be extended, weighed, measured
and, perchance, strengthened into
friendship.
CAUGUIN and Van Gogh have in
recent years, and since their
deaths, been publicized as no paint
ers of any nation ever were before.
Partly for this reason, they have en-
gagged the public interest extensively
and have been greatly misunderstood.
Known first and best by their idiosyn-
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been largely overlooked. Both had
genius, but were seriously handicapped
by abnormalities, in spite of and not
because of which, they achieved WV
idly emotional canvases.
The history of the life of Gauguin,
thinly veiled, has been told fictionally
by Somerset Maughan in The Moon
and a Sixpence"; the life of Van
Gogh in well-written biography by
Irving Stone, entitled Lust for Life;
both were fearfully tragic
The life of Cezanne was equally sad,
but not so abnormal, record of frus-
tration, constant effort to achieve an
end and repeated failure. Il am
one he said. who possesses a gold
piece without knowing how to use it."
But today his admirers eXtravagantly
rank him as the greatest painter of
the goth century and his influence has
been strong and widespread.
Seurat was, it will be remembered.
one of the group of young painters in
Paris who called themselves and were
called wild Beats" lies fauves."
He died when only 80. having appar-
emily wasted his life and talent need
lessly.
The fifth of this group whose works
will be shown in the new Gallery of
Modern Art at 726 Seventeenth street,
Renoir, unlike his four confreres,
had happy disposition, a joyous life.
He, it is said. brought impressionism
to consummate expression, especially
in painting figures out of doors. He
was always seeking beauty.
According to my idea" he said,
''a picture ought to be lovable thing,
joyous and pretty, yes, pretty" add
ing. There are enough boring things
in life without our fabricating more"
There will be nine Renoirs in the in
augural exhibition opening tomorrow.
the earliest dated 1873 and the latest
1908. covering, therefore, wide range
of his achievement. 1t is good that
such special emphasis should be put
at this time on this master.
THE establishment of this branch
of the Museum of Modern Art
New York; witnesses quickening of
artistic interest ON the part of Wash
ingtonians in art and its various
manifestations, as well as a growing
conviction on the part of others out
of town that our Capital City is be-
coming an art center. The Museum
of Modern Art in New York has,
it must be admitted, sponsored art
of extraordinary and eXtravagant
character, such as the fantastic dis
play set forth year ago, and since
circulated to museums, which, at the
time of its introduction, bewildered
and confused even the well-seasoned
critics of the New York dailies. But
there is no obligation on the part
of the public to accept such art as
superior. Every one may, and should,
think for himself or herself. The
exhibitions to be set forth in this
newest Washington gallery are in
tended to spur our thinking, and if
this end is achieved it will be effort
we'll spent. Too willing are we to
put the responsibility upon others,
to be led rather than lead. This. and
other exhibitions to follow, should
afford opportunity for adventure along
these lines.
Plans for the Washington Gallery
of Modern Art we're formulated here
last spring by Mrs. Dwight Davis and
Mrs. George Garrett. A meeting was
held at the formers home and a
committee of organization was named
as follows: Mrs. Dean Acheson, Mr..
F. L. Belin, Col. FitzMaurice Day and
Mr.. David E. Findlay, to which have
since been added Mrs. Henry Leonard,
Mrs. Frank West and Mr.. Olin Dows.
Steps were taken to secure suitable
quarters and arrangements made to
take over the first floor of the
Metropolitan Club, on the corner of
H and Seventeenth streets, with pri-
vate entrance on the latter. The GAL
lery, now completed, affords sa69 run
ming feet Of exhibition space, the
walls have been covered with gray
monks cloth, the woodwork is pine.
and informal furnishings, modernistic