Evening star., 1941-03-02

floor is set aside for works illustrat- |
ing the use of color symbols for the |
expression of emotions inherent in |
the subjects-and here, quite nat
urally, the charming and sig |
niflcant Luncheon of the Boating
Party" by Renoir, takes its place. |
In this painting the artist has set
forth for all time the image of hap
piness, the spirit of recreation, the
joy of companionship, even sheer
delight in sunshine, free to all. |
Here also, in an utterly different key, |
is THE Repentant Peter" by El
Greco, infinitely sad and tragic
possibly reminiscent of the Inquisi-
tion, which he personally witnessed
and narrowly escaped. Manet's
Spanish Ballet" hangs opposite
Peter" introducing lighter note,
but special attention should be di-
rected to the fascinating little paint
ing by Giorgione, so brilliant in color
and big in manner of transcription,
which is reproduced on the cover of
the catalogue and is shown here.
And from it the visitor will pass
to consideration of the fascinating
painting, Journey of the Wise
Men, by SaSSetta, which dates back
to the first half of the 18th CEN
tury in Italy, now owned and lent
by Maitland F. Griggs from his pri-
vate collection. The Wise Men are
seen descending a hill by a road
which goes almost diagonally across
the picture. They are painted as
probably no one else ever did them,
but with engaging spirit and pic
tureSQueneSS. The style is much
that of the early miniature-as, for
instance, those done for the Due de
Berry'S Book of Hours but
strangely enough is in compost
ton striking similarity to a famous
print by Hiroshige. one of the great
est of the Japanese printmakers.
Much, too, may be said in praise of
Fra Philippe Lippis exquisite little
"Annunciation," which seems to sum
up the grace and charm of the Ital-
ian school and reflect the influence
of those who made it what it was.
How great was the stimulous to art
in that day, of being wanted-of
| having an actual service to render to
mankind!
SaSsetta and DeIacroix.
But all art has its message and
place. From the SaSsetta, for in
stance, we may turn to two works
by DelacroiX, both given inclusion
| in this gallery-one the familiar and
impressive full length of Paganini
playing on his violin with vehemence
and evident emotion, the other a
painting lately acquired by the Phil
lips Gallery entitled Hercules and
Acestis," a subject taken from my
thology and given popularity by
operate Interpretation. DelacroiX
was, it will be remembered, great
romanticiSt, and while he formed
no school and had no immediate
following" the vitality that he pos
sessed, we are told, ''revivified the
art of the 18th century" That he
was dynamic, no one seeing this
painting could doubt But, also, he
was musical, and the music of Gluck
and Mozart and Beethoven found
re-echo in his painting-re-ec echo
which some believe these great COM
posers themselves must have recog-
| nized No wonder he was able to
paint Paganini as he did, or that,
in his Hercules and Alcestis." we
find rhythmical line and harmonious
| color.
Comparable to the Paganini by
Delacroix is the painting by Dau-
mier of THE Three Lawyers" which,
with his Strong Man of the Fairs"
| is here also. Where else can so
many paintings by Daumier of first
importance be seen as in the Phil
lips Collection? Assuredly, nowhere.
Post ImpressionIsts.
Galleries V, VI, VII, VIII and TX
are given over to expositions of color
as employed by modernists to con-
vey, in various ways, qualities of
unusual character, largely through
symbolic inference. To many, this
half of the exhibition will, despite
labels and explanatory text, prove
bewildering; but, also, it should be
found of great interest. Many have
asked what this strange new art
means and why it has, among
group of trained intellectuals, found
favor, but no satisfactory answer
has, until now, been given. BY
grouping and arrangement. by text
and definition, glimmer may be
found here which will illuminate the
way Of understanding. These paint
ers, il would seem, are speaking
new language for which they must
employ untried symbols. With them,
it is not merely things seen, but
things imagined and individually ex-
perienced. We may not like. we may
not fathom, their creations, but as
set forth in this exhibition, analyzed
and arranged, they are found to
have fundamental purpose, to follow
basic principles, not arbitrarily laid
down, but scientifically worked out,
and with serious conviction. This Is
very different matter from litter
acy, affectation of ignorance, disre-
gard of discipline and other evils
which find expression in so much
of the painting of today. We may
argue, if we like, that art-at least
the art of paintings visual, and
must be comprehended by the eye,
as music is aural and to be COM
pretended through the ear; but
there is no hard-and-fast rule which
prohibits experimentation so long
as the experimenters are sincere.
They may broaden the field-they
may abandon the effort-time will
tell; meanwhile. it is well to take
a look into their laboratory.
Gallery v shows works by Picasso