Evening star., 1942-05-24

New Y DIX lily Allu bchoA, NAo>s
It is an exquisite work, well COM
posed and SO subtlely rendered that
it seems scarcely to belong to the
things OF this world. The roses are
almost white, or a very light tea, y
and are seen, against hght-colored
background, in an earthen jar stood
In a deep fiat dish.
Conjuring up the picture from
these words, one will scarcely be
able to visualize the extraordinary
beauty of the work as a whole
Flowers are by nature evanescent;
their fragrance never can be held
in the hand; the atmosphere by
which they are surrounded is as
elusive as a disembodied spirit; and
yet painter-a very gifted painter
can, as in this instance, put all on
canvas in such wise that they be-
come tangible and real. In doing
this the painter becomes an inter-
prefer and gives to the world at
large something which will forever
serve to reveal to the beholder
beauty-and, in all probability,
beauty heretofore unreaized or un-
seen.
There are two other examples in
this city in public collections OF
flower painting Of this sort-one is
of roses by Abbott H. Thayer. which
is included In the Gellatly national
art collection: and the other, also
of roses, but by J. Alden Weir, is in
the collection Of the Phillips Me-
mortal Gallery.
John r. and J. Alden Weir were
both the sons of Robert w. Weir,
who, born in New Rochelle, N. Y. In
1903, studied first under Jarvis and
then in Florence and Rome, Italy.
In 1929 he became member OF TIE
National Academy. New York, and
in 1892 was appointed professor of
drawing at the United States Mill
tary Academy, position which he
held for 40 years. Both John and
Alden were born at West Point and
studied under their father. Both
became national academicians and
exerted wide influence through their
work and teaching upon our then
young American school. John did
sculpture as well as painting and
from 1869 to 1918 was director OF
the Yale school of fine arts.
All this may seem to be very far
from the delicately rendered paint
ing of Roses" which Miss Hegeman
has so graciouSly given our national
collection of fine arts, but after
all it is not. Painting is painting,
and one who could put on canvas
in a superior way the interior OF a
gun factory might well be trusted
to do the same for a handful OF
roses which, with their beauty, had
stirred his emotions and gladdened
his eyes. 1t was the truth for which
these artists sought, and beauty
which they worshipped.
Between John F. Weir and his
brother, j. Alden, there must have
been much sympathy although AL
den was II years the younger, and
therefore, seeking instruction in
Paris in early manhood must have
made contact with leaders Of the
late 10Th century French school.
He used high-keyed palette and
introduced into his paintings at
mospheric effect, but to the day Of
his death he was Of New England
in thought and feeling and in this
respect more American than most.
He is well represented in the Phillips
Gallery by portraits or figure paint
ings and landscapes as well as the
notable still life previously men
toned. In the national collection
of fine arts, gifts of William T.
Evans, are his well-known Gentle
woman" Portrait Of Wyatt Eaton"
and landscape upland Pasture" |"
The Corcoran Gallery has two Of
his works-whereas an example Of
painting by Weir, ST., Is "The EN-
barkation of the Pilgrims" in the
Rotunda of the Capitol. A talented
family-the WeirS!