Evening star., 1944-04-30
BY Leila MechHn.


Included as an integral part o
the current exhibition of American
Paintings in the Phillips Memoria
Gallery are 40 or more water color
by approximately the same numbe
OF painters, allowing for substitu
tions now and then. These are huns
in the two print rooms, below stairs
and on the stairway leading thereto
Although a well-known Winslov
Homer-"Rowing Home"--has beel
chosen to give the keynote to thi!
sectional showing, the spirit o.
modernism here finds expression tt
even greater extent than it does
above stairs among the paintings il
oils. Indeed as an exposition Of
modern trends it is exceptionally
significant.
Wlnslow Homer was no.modernist
In fact he was a realist of the real
lists, but he had, as have few, the
power to set forth a subject, with
such sincerity and economy Of
means, that the impression he de.
rived from nature was truly trans.
mitted. not to the few but to all
Also to achieve his own ends h,
practically revolutionized the art o.
water color painting, which, unit
his time had been generally con.
sidered one of the weak sister!
among the arts.
Rowing Home" is a very simpl,
composition. 1t shows fishermen
rowing, m a dory, toward land, OF
a smooth sea, rejecting, as q mir
ror, on its calm surface, the color
of the evening sky and setting sun
The treatment is extremely simple
and direct, the observer is moved b.
the beatty and calm of the seem
as was the artist who made th'
painting. Belonging to the ole
school, Homer held up the mirror tt
nature with what result we here
see. Others have done the same
among them Sargent. Colman and 9
score or more younger men, adding
thereby, to the art they practiceo
and extending the boundaries of ths
medium employed.
In the NetOer School.
The newer school, so generously
represented, is seen, to the contrary
to have sought freedom through
self-expression. holding up the mir
ror to themselves rather than nat.
ure and transmitting to the observer
things felt, emotions, dreams, also
however, with an even greater econ.
omy of technical means. Although
it is impossible to get completely
away from things factual, to achieve
their end, the modernists have
adopted the use of symbols, sup
posedly recognizable, but not Away
understandable. Thus has ariser
confusion. Art is visual and mus
speak through form and color pri
marily. To invent for it a nev
language is to rob it of its birth
right-its reason for existence. Ant
yet, If progress is to be made, ther
must be experimentation.
Among present-day experiment
tors the leader probably is Johl
Marin, who is represented by fou
characteristic examples in the sec
ond Prunt Room, in which hang
the one work by WinsloW Homer
Two of these are of the sea, tn
others of the mountains. All are eS
sentially impressionistic and non
chalant in rendering. To the paintel
undoubtedly, they serve as ade
quate souvenirs Of things see
which have reacted upon him emo
tionally Obviously he has escape
convention, but in so doing he ha
to many, become incoherent.
Painting Is Dras0ing.'
Jean Paul Laurens once sal
Drawing is painting and paintin
is drawing which is something tn
modernists seem to have forgotten
or willfully put aside. Not all how
ever. Charles Burchfleld in h
water color Of barn has draw
metlculOuSIy ana panied WIFI Coi
summate skill, at the same tin
symbolizing certain units in his con
position to convey universal NEAR
ings. C. Law Watkins in his trar
scriptions of Spring Day From tt
Terrace" and Pixies Peak" hs
rendered effects which evident
charmed him, both Of landscar
seen through a veil of atmospher
and of gigantic mountains wrapt
slumber robes of Somber tone.
For pure inventiveness, Aga
Heights" and where Kin 6
Reigned," by Elizabeth Poe, a.
notable Abstract and detached fro
reality. they still convey deep in
preston of romance, s1ystery.
There are others who have NJ
gone so far, but have found, ar
interpreted, beauty in the common
place, such as Robert Frank
Gates, who is represented by tv
paintings done in Washington, "P'