Evening star., 1939-07-02

wise a masterpiece. With delight
one finds in this assemblage repro
auctions of Paul Bartlett's equestrian
statue of Lafayette, given by the
school children of America to France
and ever representing a union of ma
tions, and of Daniel Chester French S
Alma Mater" which stands in front
of the library at Columbia Univer-
sity.
There are excellent portraits of
Duveneck by Crafty, of Ward by
Niehaus. of Weir by Warner and of
Kroll by Quinn. Paul Manship is
at his best in copy of Dancer
and Gazelles." of which the Cor
coran Gallery of Art owns an early
and very excellent casting Paul
Jennewin's Cupid and Crane. 3"
McCartan's Diana and Fawn." i"
Garden Figure by Edmond ANA
tets, and John Gregory's "Philo-
mela' all testify to the ability of
our sculptors of the present day to
be gay without descending to vul-
garitv. Indeed there is much beauty
here in form and in modelling. The
women sculptors, members of the
academy, make excellent account for
them: les, for there is very dis
tinguished work from Anna Hyatt
Huntington. Malvina Hoffman. Janet
Scudder, Katherine Lane, Evelyn
Longman and others. Certainly, of
our output in this field we have oc-
casion to be proud, especially when
we recall that the whole history of
sculpture in America can practically
be encompassed in 100 years.
Painting Variety.
In the painting section there is
probably wider diversity. Here the
record goes back to Rembrandt
Peale, who is to be rec'-oned will,
our earliest American portrait paint
ers, as we'll as Thomas Sully and
John Neagle, both but somewhat
later, and carries up to such repre-
sertatives of the present day as Guy
Pene Du Bois, 'dward Bruce and
Jon Corbino In between come man,
who, passing from the stage of life
are still assured remembrance.
Terminating the vista through the
galleries is Abbott H. Thayer's pro-
foundly impressive Angel of Dawn ,
In key positions are the full-length
portrait of Man and Cat'-a study
OF the late DR., Erinker, by Cecilia
Beaux which as Ranger Fund pur-
chase will some day undoubtedly
come to our Smithsonian Gallery:
"The Fencer," as we'll as THE
Brabant Bride by Carl Melchers
dent by Mrs. Melchers), and "Por-
trait of a Boy'-Homer Saint Gau-
dens seated beside his mother-by
John Singer Sargent, lent by the
Carnegie 1~"titute-a very brillie~t
work
Edwin A. Abbey, illustrator and
painter, is represented by a large
and rather crowded canvas repre-
senting The Coronation of King
Edward VII" which is little in the
manner of The Trial of Queen
Catherine" in the Clarke Collec-
ton at the Corcoran Gallery of Art,
but less impressive. OF Abbey him
self there is portrait by John w.
Alexander, friend and colleague o.
many years.
1t was John Alexander who first
proclaimed the talent of George
Bellows and encouraged it's develop
ment, he at that time being presi
dent of the N1tiona. Academy and
Bellows just getting on his feet. The
correctness Of this judgment is fully
attested by the two Bellows paintings
in this exhibition, Edith Cavell'
and Portrait of Catherine Rosen,"
both of which evidence great power
OF expression and profound artistic
insight.
Between Bellows and Duveneck
there is certain similarity in strength
and vigor, as there is also, it would
seem, between them and Weir and
Henri, all of whom are in this exhibi-
ton we'll represented. Then we come
to Thomas Eakins, who was, it is
said, not highly esteemed in his own
day-because perhaps of too plain
speaking-but is now among the i'm
mortals-why, one may easily sur
mise from his paintings. Taking
the Count" and Turning the Stake
Boat" included in this showing.
Winslow Homer, another literalist
and most typically American, it Is
thought, of all our painters, is four
times represented, so that his scope
Is well manifested, as well as his