Evening star., 1945-04-29
By Leila MechHn

Too much cannot be said in prais'
of the drawings by eminent French
artists set forth in the lobby OF thu
National Museum, Constitution ave
hue at Tenth street. The collection
comprising 80 works by as many
artists of France who attained dis.
tinction, was sent to this country by
the citizens of the French republic
in the early days of World War 'ir
token of appreciation of the SYM
pathetic efforts of Americans to re.
lieve the distress occaSioned by the
war" then in progress. Thus it rep
resents a graceful gesture on the
part of the French artists and q
spirit of gallantry which should not
be overlooked, for the donors were
themselves great sufferers. OF the
latter fact, however, no suggestion
was given by them. Indeed, there
was a spontaneity about the gift
which doubled its significance and
value. Almost all of the drawings
are the artists best, and are not
only signed but appropriately in
scribed by them.
Among the generous donors were
men of such eminence at the time
as Bonnet, Besnard, CaroluS-Duran
Cottet, Flameng, Harpignies, Lau-
rens, LIE Sidarcr, L'hermitte, Me-
nard and others, with whose out
standing accomplishments Amer
leans had become familiar through
study abroad and the Carnegie In
stitute's annual international ex-
hibitions at Pittsburgh.
Impressionism was then the
vogue; cubism had made itself felt
but the art of the day was still deep
ly rooted in tradition. That meant
faith in the immutability of beauty
choice of subject matter which
would conform to such obligation
good craftsmanship, sensitive and
controlled handling of whatever
medium might be employed. The
result, as may readily be discerned
from the drawings composing the
present showing, was lack OF SELF
consciousness on the part of the
artists, and impressive evidence OF
good taste-that trait for which the
French people have always been
noted.
Works in Many Media
Many media have been called
into use by these painters and Sculp-
tors-pencil, pen, charcoal, chalk,
crayon and water color-and in al
most every instance with suitability
In them one cannot fail to note
lightness as well as accuracy OF
touch, senSitiveness of perception
None is casual-al are works of art
and sincere. For which reasons, al
though made more than quarter OF
a century ago, these drawings have
living and lasting interest.
The subjects set forth are very di-
verse. There are portraits, figures,
landscapes and genre OF the pic
lures of the war there are fewer
than might be expected, but when
presented, such bring home to the
observer it's sadness and sorrows.
MSoG OOuSIlAilS, PCA al z oAASSS
which picture the homeless, the
feeble, the young. burning cities,
sorrowing wives and mothers. Little
did these artists think that, in ex-
aggerated form, the story of tragedy
would be retold, with even greater
intensity, by those destined to follow
in their footsteps.
Fine Landscapes
There are some lovely landscape
drawings in the collection which
once seen will not soon be forgotten.
Notable, also, are some nudes, beau
tifully interpreted. A pen drawing
by Rodin is among the latter, recall
ing the emphasis which this great
sculptor placed on craftsmanship.
The sheer beauty of line is again
and again manifested.
During World War I our contact
with France and French art was un-
broken, but in World War II it has
until very recently been completely
cut off. Reports have come of excess
activities, large exhibitions, sales,
but the chances are that these have
been occasioned by a brave deter
mination to whistle up semblance
of Indifference to impending fate.
Art does not flourish under such
conditions Between World Wars I