Evening star., 1941-03-21


surprised with the development of
private initiative in artistic mat
ters. I'd venture to say that many
American millionaires are super
ceding, in these utilitarian days of
uncertainty, the role of the old
Maecenas of the Renaissance. r
was overaWed by the extraordinary
collection of Mr.. Burns in Merton.
This gentleman has, in his own
home, the most varied collection of
works OF French impressionists. l
saw in Mr.. Burns home more than
100 works of CeZanne, some $50 OF
Renoir, some so of Picasso and many
others OF Van Gaugh, DegaS, Manet
49,. 1t was like dream to me!
Private initiative such as this
does not exist in my country for
reasons easily understood. We
haven't got the money! Those who
pile up fabulous fortunes here know
how to use them to good advan-
tage. They return to them the
people in works of beauty! All these
private collections will some day be
public museums. Hence the mitia-
tive of a few, scattered and inde-
pendent, serves to awaken similar
initiative on the part of the state.
And in this country. happily, moth
ing's done halfway. There's
tendency toward perfection-a per-
fection which embraces all the
aspects of each problem-every
activity. I am of the opinion, for
instance, that the Work Projects
Administration, in the social and
artistic sense, is one of the most
interesting. 1t is a work into which
the very President of the United
States has thrown all his influence
and even q certain amount of af-
fection."
Praises National Gallery.
Mr.. HumereS, in Chile an art
critic on FL Mercurio, especially
wants to make mention of the
National Gallery of Art.
"The collection is splendid" he
said. Without doubt it will be the
foundation of one of the greatest
museums of the world. The mu-
Seums. in this dynamic land, are
not mausoleums. Artistic life here
is intense. In my judgment, that's
what it should be. Through con-
certs, conferences and investigation
works of art reach the public. A
sympathetic and understanding cur.
rent Is generated; in a word-cul-
ture. The Museum of Modern Art
Of New York is not only worthy Of
many visits; it is, in reality,
center of artistic diffusion. That's
what museums are for.
With respect to the artistic pro-
duction Of the United States, it
would seem to me that the people
here are finding their own art form,
without direct influence of any of
the old European schools. An art
which is an expression of the am
bient-the surroundings. Painters
in the United States are not partial
to embalmed studies of nature, nor,
like the French of all the periods,
of sunsets on the Seine AS
theme, they prefer skyscrapers,
bridges, buses. the almost demo-
niacal movement of certain great
cities. Even in color there's a GER
tain native feeling-a strong, neat
color-at times trif1e crude, per-
haps. But this is the new harmony;
slightly strident. 1t represents q
kind of breaking off with tradition
modern prinitivism' would be,
perhaps, the right expression"
Points to Cultured Move.
Mr.. Pereira, youthful investigator
of the past and professor Of history,
had a few words to say on his spe-
cialty:
I'VE owe a debt of gratitude to
the United States for its interest in
Latin America. 1t is a cultural
movement which began at the turn
| of the century. Previous to 1900,
North America interested herself
mainly in European studies espe-
cially-English, French, German At
that time studies commenced con-
cerning Latin America. The first
chair of Latin American history
was founded in California at that
time. In the United States today
there are more than 200. The
libraries, as well, have valuable col
lections of documents concerning
the discovery and history of Amer
lea. ALI the historic papers rela-
tive to the conquest of Peru, are
found in the HarkneSs collection.
Then, also, through study Of
| folklore, has come an interest in
the study of South American art.
DR.. Ralph s. Boggs of the Univer-
sity of North Carolina has compiled
a critical photography of all ma
terial relative to the folklore of
Hispanic America. It's a fine start
ing point-indispensable for future
investigators. Respecting painting
itself, and history, there has been
a departure from Mexican art. CO.
lonial painting has not, however,
been studied as yet-the schools of
Cuzco and Quito. Also the three
centuries of evolution of South
American art should not be for
gotten. But, fortunately, North
American investigation seldom over
looks anythins-oncs they start the
elohs1