Evening star., 1939-07-02

style. To his credit-and that of
the academy-stand The Croquet
Game" The Gulf Stream"
watching the Breakers" and
Cape Trinity all of which were
frankly painted because of the in
trinsic interest in theme, and as
correctly as lay within the artists
power. Little time did Eakins or
Homer waste in feeling their spirit
ual muscles or seeking elf-expres-
sion.
Popular Landscapes.
Landscapes, which of late have
rather gone out of style among
practicing artists. producing for
pleasure, are here in reasonable
ratio and very welcome. George
Inness, who is known as the Father
of American landscape painting is
represented by three characteristic
canvases-"Autumn Oaks" lent by
the Metropolitan Museum of Art
and we'll known through reproduc-
ton; Rosy Morning" lent by the
Art Institute of Chicago, and Win
ter Morning. Montclair' of all most
modern in feeling, which once be-
longed to the late c. c. Glover of
this city and is now accredited to
NJ Knoedler G. Co.
Wyant and Ranger, Davis and
other outstanding landscape paint
ers are here. So also are the paint
ers of the sea, Woodbury. and Waugh
and Butler. Again one is impressed
by the breadth and variety of the
work that has been produced by
our American painters of the past.
also with the variance in style For
instance, what could be more widely
different than the works of any of
the painters just named and that
of the late Childe Hassam-chief
exponent in this country of the
French school of impressionists-
and yet one of the paintings in this
exhibition which is bound to sweep
the observer off his feet is The
Alders" by this modern master-a
stretch of spring woodland, trees in
early leaf, and in their midst the
white body of slender maiden per-
fectly placed and poised. This is
masterpiece.
In the illustrated catalogue of
this exhibition regret is expressed
that the representation could not
have been more extensive. In some
instances it might have been better
perhaps, but by all means let there
be too few, rather than too many
and the chief omissions are among
the lesser lights. Also, it must be
remembered, room had to be made
for the architects and the print
makers. To the everlasting credit of
the National Academy stands the
fact that, from the first, artists in
these fields have been included and
at times assumed leadership. And
what names and achievement we
find here recorded! In the section
of architecture, Charles Bulfinch,
who, after Thornton and Latrobe,
became Architect of the Capitol"
and when the building was restored
after being burned in 1914 designed
the central porticos; Henry Bacon,
architect of the Lincoln Memorial;
Cass Gilbert, previously mentioned:
Paul Cret, designer of the Federal
Reserve Boards Building and
the Folger Shakespeare Memorial
Library; the late Bertram Goodhue,
who set the pace in his modernized
classic of the Academy of Science
Building, to say nothing of Charles
A. Platt, painter, etcher, as we'll as
architect. designer of the Freer Gal
lery of Art; Pope, designer of the
Archives Building; Klauder, After
bury, Day, McKim and others, the
majority of whom have had hand
in making the Washington of to-
day-our National City on the Po-
.omac which Washington envisoned.
Graphic Art Section.
Finally a few words concerning
the Graphic Art section which, as
was that of the Worlds Fair con-
temporary show, assembled by
committee under John Taylor Arms
as chairman. In the early days of
the National Academy, before pho
Biography was invented, there was
a very close association between
printmaking and painting and many
of our best painters were primarily
engravers. Great pains were taken
to see that these men were fully and
appropriately represented in this
special exhibition. but their works
were not segregated and it is an