The Wilmington morning star., 1940-11-22

Falla's Homage to Debussy. To
experiences like these belong the
moment when one first meets the
work of Henry Jay Macmillan. For
him Who has the eyes to see and
a spirit which can leap to that
recognition awaits the elation of
finding himself in the presence of
a real artist.
Among the cognoscenti it is Gus
tomary to mention all the other
painters where affinities exist or
influences derive in order to give
by a sort Of shorthand in aesthe-
tics an indication of the origins
and quality of a mans work. But
for that reader who may not know
or appreciate those illusions the
whole weight and point Of the criti-
cism is lost. Therefore, without
any comparisons with the impor-
tant and promising group of top
flight painters in America today
let it be stated that Macmillan
is definitely entitled to an honor.
able place among them. His draw.
ing is fluent, composition serene
and well ordered and that general
capacity to turn out a picture
which hangs together and seems
convincing which we usually cover
by the loose term technique: that
too is there. A sure craft, versa.
tility in media, catholicity of in
terest, charging mood: all these
r the sum of a good painter.
That is why I have left color:
MacMillan's color to the end be.
cause here is the key to his emil
nence, here the potential of great
ness.
The individuality of the MacMil-
Ian palette is not only important
because it is intrinsically beauti-
full: its chief merit lies in the
subtle effects which it produces.
1t is as if somewhere between the
paper and the pigment mystery be-
gins to stir. Not that he spectator
Should be deliberately mystified
but that he does more than mere.
~ look at a picture: he should
begin to feel some emotion STIR
ring within himself. This evoca-
ton of the locale in his water
colors and the cumulative effect
OF the symphonic organization of
the three great gouaches spring
from the latent mystery in Mac
Millan's color. A burgeoning n
OF tragedy turks just beneath the
surface of some of these paintings:
it may still be summer tightening
out the source of the fire is there.
AS the decades roll by Dostoiev-
SKY energies as the fixed luminary
OF the nineteenth century while
other stars recede: he above all
others laid bare the wretched,
cropping human heart. One day a
young writer burst into Dostoiev-
sky's study and threw a sheaf of
manuscript on his desk saying, in
effect: Look here Master, look at
all this beautiful writing-at least,
that's what the critics say; but
still I'm not satisfied. You are the
one nan in the world who can
tell what's the matter with >it''
The ageing Dostoievsky showed the
papers gently back towards their
author and pointed at the door;
said he: pass through that door
young man and begin to suffer-.
Perilous prescription and presump.
tious for a stranger to toss at a
man whose work he SO much adj
mires. Because of this very adj
miration however, perhaps risks
can be taken. Artificial adventure;
deliberately running into the bright
of danger is likely to produce
artificial results. So we must wait
and hope; hope for that moment
IN MacMillan's career when the
emotional tension which ripples
Just beneath the surface will break
through to leave us transfixed.
Inc Russians have a happy word
o. painting: Theoretically deevo.
peece) freely translated meaning
1--WE writing. What a wonderful
word! And that is what can happen
70 a painter, especially to one so
richly endowed as our Macmillan,