Evening star., 1941-03-02

company with the paintings just
mentioned two by Cezanne, widely
diverse in treatment as well as
theme, and find them harmonious,
related. These are paintings of a
workingman with arms crossed, and
still life entitled THE Black
Clock" The former is rendered
brusquely but with rugged strength,
whereas the latter shows a heavier
and, perhaps, more studied use of
pigment. Here this still life-a
black clock and pink-lined conch
shell on white Cloths cited as
Illustrative of symbolism inherent in
color and form.
Paintings by Cezanne.
There are no less than six paint
ings by Cezanne in this exhibition.
In the east transcript of the library
IS his Self Portrait" acquired some
years ago by the Phillips Gallery
and reckoned among his most
famous works, which is now shown
as example of the functions of color
in descriptive suggestion. Above
stairs, in gallery V, with distractions
by Picasso, Braque, Girls and La
Fresnaye, is found his very natural
istic study of pears, quite lovely in
color and beautifully rendered as
we'll as his landscape with houses,
Fields at Bellevue" apparently
rendered with deep sense of peace
and satisfaction far from character
iStic of Cezanne, who, it will be re-
membered, more perhaps than any
painter who ever lived, strove for
that which he felt he never attained. |
Here, again, the implication is of
symbolism as shown in color. Finally, !
in the main upper gallery, there
is another landscape by Cezanne,
which is thought by those who or
ganized this exhibition to be more
emotional, but technically is less as
sured. In it, the painter seems to
have been feeling his way vaguely
and with discomfort, which obviously |
may be regarded as emotional revel- |
alton. None has eXerted so strong
an influence on the art of today as
this artist who died thinking him.
self a failure; therefore. the oppor-
tunity that this exhibition offers to !
know him and his work better is eX-
tremely valuable.
Returning to the library whence |
pursuit of additional paintings by
Cezanne led us. we find, in posi-
ton of prominence on the north |
wall, Turner's famous painting, THE
Slave Ship" lent by the museum of
Fine Arts, Boston. There is legend |
that this canvas was purchased for |
the museum by which it is now
loaned at an auction in New York
good many years ago, when dis
played on an easel upside down
and it may be true, for it is color
the scheme rather than composition
which gives this work, by one of
the worlds supreme colorists, dis
tinction
On either side of the Turner hang |
decorative canvases made by Puvis |
de ChavanneS as studies for mural
paintings, works in which the colors
are held in broad fiat masses rather
than broken, and high-keyed rather
than jeweled. Nearby is lovely
little Monticelli which is like rich
mosaic of rubies, emeraldS and other
precious stones, from which one ma
turally passes to consideration of the
Phillips Gallery Constable, more
Somber but also more similar to the
Turner. Two little Daumiers hang
here, as we'll as a small Degas,
Women Combing Their Hair" a
Victorian Street Scene" by Car
peaux, and a sculpturesque head by
Derain-excellent examples OF di-
versity in unity represented by color
in descriptive suggestion.
Luini, Rembrandt and Daumier.
In the east transept of the Library
are some very important canvaseS.
Here, on an easel with back to the
now shaded window, is the beautiful
Madonna in Landscape" by Luini,
reproduced on this page fortnight
ago when this exhibition opened, a
work very similar in part to that by
the same artist included in the Har-
riet Lane Johnston collection in the
National Collection of Fine Arts. In
both, the Virgin is seen holding in
her lap the Christ Child, who leans
down to fondle a little lamb by her
knee. In the painting lent to this
exhibition, the scene is extended,
and by the lamb is seen the little
st. John, while back of the group
is typical and lovely italian land
scape. The painting in the Ma
tional Museum is much larger-in
fact, life size-but lacks these fea-
lures and is thought to be but part
of once larger canvas.
On the east wall of this transept,
hanging to the right, is head of
Christ ascribed to Rembrandt and
said to be the original study made by
this master for his Supper at En-
maus," which long hung in the