Evening star., 1938-02-20


color-and also water colors and
drawings by Karl Knaths. There is
great variety in the first group, both
In subject matter and technique, which
give striking evidence of catholicity of
taste on the part Of the purchasers,
Mr.. and Mrs: Phillips and their as
sociates. The works acquired range
in date from the early 18th century
to today and are by artists Of various
nationalities, Acknowledged masters
and local contemporaries who have
yet their spurs to win.
Attracting ones attention instantly
upon entrance. not because of clamor
or signal on the part of the artist,
but Of reticent charm, are two little
drawings Of landscapes by Louis
Eilshemius which 60 far to explain
the merit which has been accorded In
recent years to the paintings by this
eccentric genius. Neither of these
drawings is much larger than a mans
hand. but they are filled with truth
and beauty. One feels the charm
which composition, light and atmos-
phere combine to create and which
the artist has so well made manifest
Near these, in utterly different but
no less pleasing vein, are several
drawings on insects and birds by the
well-known French artist, Bonnard,
painter and illustrator, who with
naive simplicity delights to show US
the little creatures of the outdoor
world in their antics and at their
work. One of these drawings is of a
group of grasshoppers balancing on
slender blades and finding, it would
seem, as much delight therein rs do
New England boys riding birch sap
lings: another sets forth an indus
trious group Of ants: q third pictures
two birds in apparent conversation.
Bonnard is no mature faker," but
his delightful sense of humor brings
the observer close to the tiny creatures
Of wood and field that he portrays.
Over the mantel in this room hangs,
and with great dignity, an etching
by Meryon of "Notre Dame" a mas
terpiece without question. It. is as
difncult to explain the elements of
greatness as those of beauty, but
they are both readily recognizable.
Among the greatest etchers of all
time Meryon has a place, and one
which will certainly never be denied
him. It Is good to see one Of his
works In this collection and to use it
as standard of what Is best and most
enduring in art.
A little further to the left the vis-
itor to this exhibition finds . sur
prise awaiting him in an etching of
the main portal Of st. Marks, Venice,
by none other than John Marin,
done In a manner very realistic and
completely traditional. Certainly 1t
must have been an early work pro-
duced in Marin's younger days while
he was studying In Europe. There Is
nothing slavish ABOUT his transcript
ton Of this magnificent doorway;
already his ability for simpliflcation
and for seizing upon the essential
makes itself felt. There Il evidence
here, furthermore, Of . complete un-
derstanding of the limitations as well
rs potentialities of etching, and one
cannot but ponder the resrettable
loss to the world 1T large caused by
the diversion of the artists talent to
the channels Of pure experimentation
In Inter years. There Is . second ex-
ample Of Marin's etching in this ex-
hibition, an Interpretation of the
Brooklyn Bridge, also realistic but
more modernistic in general charac-
ter. registering lessening of interest
IN the subject and an increase In
concern for personal expression.
A note Of humor Is introduced by
two drawings zone in color by Aaron
sopher of this city, Baltimorean by
birth, pupil Of Alon Bement, who. Is
. clever illustrator. has won excep-
tional recognition. One pictures four
stout women around . baby carriage
uttering, one may well imagine, ex-
travasant praise of the occupant there
Of. vigorous little younester. The
other Is entitled, sOheer Center, Balti.
more" and glimpses, presumably, the
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