Evening star., 1940-03-31

notable OF the entire season.
A week from today-that Is ON 4
Memorial Gallery an exhibition OF
unique character, assembled by Mr..
Charles Law Watkins, associate di-
. rector. which will comprise about 10
J paintings by world masters lent by
the leading art museums and pri-
vate collectors of this country. The
purpose Of this exhibition, which will
fill all the galleries on the second
floor and more than probably COM
mandeer space in galleries on the
first floor as we'll, is to illustrate the
emotional element in design which,
ofttimes unconsciously on the part
of the artist. actually comedies with
linear motifs. These motifs are to
be found in nature disguised as
forms or forces and hence not In
variably realized, but each form has
its characteristic outline, and each
force its characteristic direction, or
movement. Hence, man naturally
associates with them the moods or
sensations normally experienced IN
their presence. It is for this reason
that, according to Mr.. Watkins the
ory, which is certainly sound, when
the artists design takes the shape
Of one Of these universal forms, the
observers memory or subconscious
mind reWves the emotion which he
normally experiences at the sight Of
this form in nature.
For example the horizontal line. or
shape, recalls that which is peaceful
and without motion-such as a dis
tant horizon, a sleeping person, a
fallen tree. The diagonal line, to
the contrary, suggests movement,
and, in sequence. the professional.
or, antagonistically arranged con-
flict. The mountain peak, repre-
sented by triangular form, both
solid and linear, lifts the spirit up,
as does the Gothic arch, man-made,
whereas the downward curving line
Of the weeping willow or the falling
stream tends to melancholy. And so,
it goes through many combinations.
the prototypes Of which will invari-
ably be found in nature.
Drawings on Cover.
On the cover of the catalogue Of
this remarkable exhibition will be 80
drawings in line, made by Mr.. Wat
kins, to elucidate this theory. These
begin with the horizontal, pass to
the vertical, embrace the outlines
of mountains, arches, gnarled trees;
. the movement of waves, OF clouds
and growing plants; the swirl OF the
cyclone and the march of men.
Twenty-eight Of these motifs will
be found applicable to paintings in
the forthcoming exhibition. These
paintings have been searched out
with diligence and care and, when
found, have almost always been
made available by the owners; pub
lie institutions and private collectors.
The universally of these basic for
mulas will be potentially attested, II
not proved, by that Of the collec-
ton, for, beginning with paintings
by Chinese artists of the Sung and
Ming dynasty, it will include works
by Italian primitives, artists OF the
Renaissance, the great schools OF
England and France, and, finally,
those of today.
Among this wide representation
will be priceless works by Tintoretto,
Ell Greco, Rubens, Hogarth, Blake
and Constable, Delacroix, Daumier.
Renoir, Matisse, Ryder, Eakins and
q host of others. Included IN the
list of lenders will be the Metro
politan Museum Of Art, New YORK;
the Brooklyn Museum, the Museum
of Fine Arts, Boston; the Toledo
Museum, the Cleveland Museum, the
Wadsworth Atheneum, Hartford,
Conn; the Art Museum Of Yale Uni
versity and the Fogg Museum OF
Harvard. In addition to the cata-
logue, there will be explanatory
labels and text.
Obviously, the object is not to es-
tablish a working theory, but to
. stress the close relation of art to
nature and to life-its universality;
also to show that, aided by instinc-
tive knowledge of basic forms, the
artist naturally uses them to express
emotion, gaiety. sorrow, strength,
violence, gentleness and peace. In
other words, although art OF the
highest order must have intellectual
content, it must first and last be
motivated and interpreted through
emotional contact and reaction.
This should, and undoubtedly will.
prove not only an enlightening but
esthetically delightful exhibition. It
will continue to May 5.
Phillips Collection.
For the month of April-that is
1som the III through the 30th-the
Phillips Gallery has provided sec
ond and very substantial attraction
in a collection of Great Modern
Drawings" borrowed from various
sources and to be displayed IN the
Print Room below stairs on the
street level. These have been gotten
- together by Mrs. Phillips, in part to
show that good drawing is still in
order, but largely because OF her
own deep interest in the subject.
The majority Of these loans have
come from Paul j. Sachs, associate
director OF the Fogg Art Museum,
Harvard University, but among
vther lenders are Mrs. John D.
Rockefeller and Stephen Clark.
There are some rare and beautiful
drawings In this assemblage-draw-
inEs which to those who know and
love line can not fall to give exqui-
site pleasure.
The representation is exceedingly
broad, ranging from Corot to Mail
lol. taking in Cezanne. Van Gogh,
Braque, Rodin, Delacroix. 1ngres
and Orosco, and others equally in
dividual and divergent. Degas will
be especially well represented by
several drawings among which two
are outstanding, because, not only
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