Evening star., 1937-05-22

lIle SOTCOTdn
" " Gallery of Arts Fifteenth
Biennial Exhibition of Con-
temporary American Paintings was
taken down recently and dispersed
the permanent collection released from
storage and rehung. This meant the
handling, and very expert handling
of approximately 1000 paintings, and
the whole task was completed in less
than 10 days
Obviously it would be an advantage
II the Corcoran Gallery of Art did
not have TO dismantle its galleries for
the biennial exhibitions. Setting
aside the matter of labor. there is, in
varlably, during these weeks, disap-
rointment on the part of out of-toWn
visitors who have counted on seeing
the permanent exhibits. On the other
hand, however. the familiar works
undoubtedly gain by being temporarily
put away, for, as in the present in
stance, they return with renewed in
terest and significance. 1t is good
to have them back.
No great changes have been made
enls year in the rehanging. Old IA
Vorltes are for the most part where
they have been, but some slight ad-
justments have been made to accom-
modate the most recent acquisitions.
The lately acquired painting by Glac-
kenS, Luxembourg Gardens" balances
on the south wall of one of the small
corner rooms, the painting by John
Sloan OF group of persons in French
cafe. purchased from a previous BIZ
ennlal exhibition, and with which it is
In accord, in shape, tone and general
treatment. In this gallery. also, now
hangs Still Life" by Henry Lee
McFee of Woodstock, N. Y, which
vas acquired by the Corcoran Gallery
OF Art just before the current show
closed 1t is entitled Corner of a
Room and represents the painter at
his best, more suave than usual and
without loss of individuality. This
canvas appears to much better ad-
vantage as now hung than when
shown in the biennial.
The Corcoran Gallery of Art has
always sponsored the works of con-
temporary American painters, and its
collection of American paintings is
one OF the best, if not the best, in the
country. Also it is kept up-to-date.
The Glackens and the McFee were
undoubtedly both acquired in accord
snce with this policy. In fact. two
galleries are now practically given
Unrkc hU tho
school. works which, while not ex-
treme, are fully representative of
achievement, innovations. trends.
Happily, however, the story is told
from the beginning, and as the ar
rangement is chronological, the visitor
may here acquaint himself fully with
the history of the art of painting in
America from the time of Copley to
the present day. And how much rea-
son there is for pride in the works of
certain outstanding painters, all along
the line, as set forth in this collec-
ton! How well in many instances
they are found to stand the test of
time!
Take, Of example, the early por-
trait painters. Copley, Stuart, Hard
Ing, Healy, who through a hundred
and more years have not been sur
passed; or the landscapists, Inness
and his school,; and after them the
figure painters-George de Forest
Brush Sargent, Melchers, down to
our own day Sargent's beautiful,
full-length portrait of the late Mrs.
Henry White, loan, hangs again in
the place of honor on the east wall,
opposite the grand staircase, while his
youthful essay, full of joyousness and
good painting-"The Oyster Gather
ers," owned by the Corcoran Gallery
OF Art, is hung as heretofore, in an
adjacent gallery
1nness' great canvas, Sunlight in
the Forest" acquired during his life
time by the gallery, occupies a prom
inent place in this collection, and
is at present supplemented by dis
tinguished loan from the Brecken-
ridge Long collection, a sunset, gently
and POLITICALLY realized by this same
painter-a much later work.
Also representatively of advance in
this field are the large, freshly painted
landscapes by George Elmer Scho-
field and the late Gardner Symons
so full of dazzling sunshine and fresh
air that they may rightly be regarded
as miracles of Interpretation. But
the list is long-each must seek out
his own favorites.
However, the tale is continuous and
still in the making. The works CT
sthe past were, we see, not only
rooted in tradition, but tradition max
Ing by them We must measure worth
and estimate progress Wherein, we
ask ourselves, does the difference lie.
Not in competence as much as in
concept. Not in the art itself, but
In the artists attitude toward art.
BY eating of the forbidden fruit" we
seem to be in danger Of losing Para
disc" The difference between the
old and the very new is undoubtedly
I'm spiritual content. In a world no
less beautiful, the quest is for rather
grim realism. From such, the better
part of the Corcoran Gallery of Arts
permanent collection affords escape.
The Government Art Projects
Discussed From Various Angles.
A N ENTIRE session of the American
- Federation of Arts Annual Con-
vention, held here last week, was
given over to the discussion of the
Federal art projects and what they
may lead to. The first speaker on
the program was Edward B. Rowan,
superintendent of the section Of paint
Ing and sculpture Of the Procure
ment Division of the Treasury De-