Evening star., 1941-03-02

scholarly and, it would seem, compile
color in this particular field, works
by some of the worlds greatest mas
ters serving the purpose of illus
tration.
Color is, of course, but one element
in painting, and it should be noted
that while emphasized in this eXhi-
bition, recognition is fully given OF
it's interdependence on line and
form. There are, indeed, many
angles from which works shown can
be considered proftably, as, for ex-
ample. technique, subject matter,
etc, likewise, in turn, rejecting, on
the part of the artist, personality.
Group labels posted in the several
gzneries serve as guides to under
standing. which explanatory text in
the catalogue further enlarges. But
aside from all this. if, perchance,
the visitor is merely in pursuit OF
esthetic pleasure, are the works
themselves, masterpieces from the
far past and today, many lent for
this occasion. some, happily, from
the Phillips Gallery collection, to be
enjoyed, made ones own and so
henceforth held in remembrance-a
treasure trove of exceptional rich
ness.
In the entrance hallway are found
paintings which briefly epitomize
two basic functions of color IN
paintings-to decorate and express.
Here are Whistlers portrait OF
Miss Lillian Woakes," which is
essentially expressive, and Paul
Klee'S "On the Way to the Citadel"
which is purely decorative. Pierre
Bonnards large canvas, THE Open
Window" both decorative and ex-
pressive-a lovely piece of color and
Interpretation of light-bridges the
gap.
Velasquez and Matisse.
Further exposition of these basic
functions is found in paintings dis
played in the first gallery to the
right. where two acclaimed master
pieces Immediately confront the Wis
itor-one painted in Spain during
the first half of the 18th century,
the other by French painter OF
today. The former is half-length
of Maria Anne, Queen of Spain, by
Velasquez, lent by Paul Drey; the
latter. entitled Studio, Quai st.
Michel, Paris" is the work OF
Matisse, outstanding modernist,
These canvases, which are about
the same size and not disSimilar
in color. are, in manner of treat
ment, as far apart as the years in
which they were painted; and yet,
it must be admitted. as seen here,
they are not antagonistic-quite the
contrary, they have qualities in
common. In black-andwhite re-
production, the painting by Matlsse,
lately acquired by the Phillips
Gallery, shows to the utmost dis
advantage, is unbelievably ugly; but
in the original, where color has
full play. it pleasurably holds atten-
ton. What a demonstration is this
of color's magic power!
The portrait by VelaSquez is more
understandable than the Matisse,
because it falls in with tradition
and bears resemblance to things
known and seen. The color scheme
is simple but enlivened by touches
of rose red in precisely the right
quantity and placement. The draw
ing is mastery, the technique su-
perb. No single lapse comes be-
tween the work and the observer
to irritate or divert attention, the
artist is forgotten in his achieve
ment-and this is as it should be
IN a timeleSs Interpretation both
decorative and personal.
The same lovely note of rose found
In the Matisse and the Velasquez is
repeated in two other paintings in
this room, a Madonna and Child"
by 18th century italian artist of
the school of Duccio, and an Illus
trative painting, very small, of THE
Healing of Saint" by Fra Angelica,
who loved this color and used it
beautifully. The Madonna and
Child" is rendered reverently in the
spirit of the time when Byzantine
influence fingered. 1t is handsome
in design and greatly enriched with
gold in decorative pattern. The
Fra Angelica is tiny work wrought
with the meticulous care of a mini
ature but possessing the masters
painterlike quality. 1t is a story
picture in two scenes and seems
to embody the gentle spirit of him
who painted it with such evident
loving care.
Obviously, as Mr.. Phillips himself
makes clear, the painters who are
represented in this exhibition did
not produce by rule. In fact, they
were, in all probability, unaware
of certain basic functions of the
color which they employed. To them,
these things were instructive. Only
through them and their works has
the realization come to us today.
1t is, however, the universally of
these basic functions, subject to
wide variance as now understood,
which make it possible to place in