The Brooklyn Daily Eagle from Brooklyn, New York • Page 68

TIIE HROOKLYX DAILY EAGLE. NEW YORK. SUNDAY. JANUARY lfl. 1927.

1 NEWS AND VIEWS ON CURRENT ART TAPESTRY. VENUS AND LITTLE USA BY CARL LARSSON. American Academy in Rome Announces Competitions The American Academy In Rome Memorial Exhibition Of Claude Monet's Works Shown at Durand-Ruel's Swedish Decorative Art Display At the Metropolitan Museum By IIKI.KN AITLETO.V kKAIk. IT WAS generally conceded by thoe who visited tlfe International Exposition dtui Art beeoratlfs, held In Paris year before Jart. that the Swedish I'avlllun and the section of Swedish decorative art In the Grand Palais m-re the mo successful demonstrations of the coming of age of a modi-rn ttyle.

There was a quality of solid reality to the design because It was based on the fundamental principle of use determining form and It was saved from anything exotic or superimposed because It showed a dependence upon Inherited native traditions. These are the attributes which elve modern Swedish decorative art an enduring and rational quality as sealnst the lovely but too fanciful designs of the Wiener Werkstadl or ihe sophisticated luxuriousnesa of modern Krench decor. Swedish design gives no evidence of being modern merely to be modern. Its forms are the logical outgrowth of new living conditions, new industrial systems and new Ideals of beauty. Such a rational development was, however, only mad possible through the intelligent co-operation of State, manufacturer, artist and the already existing and active handicraft societies.

It Is doubtful If It could have reached Its present degree of excellence had it not been for this combination. T' HOSK who did rot see the Swedish decorative arts collection at the IZriafi. jL': i attention upon high-keyed landscapes painted out of doors. While Manet made his sketches out-of-doors, the finished csnvaa was accomplished in the studio. Monet, on the other hand, carried the theory of outdoor painting to much further limits and stood for the theory that the picture should be painted from start to finish in the open.

Invented Broken Color. To achieve subtle gradation of light and effects of brilliant, pure color, he invented the quasl-aclentlfle theory of broken color, which Is tha real Impressionism. As he developed his theory he came more and more to disregard subject matter and design, except as It afforded material on which to place hia observations of light cn color. The pictures grow weaker In esthetic content as this condition develops, until -the paintings of the last 15 years of his life will only be valued In that they are the work cf a great leader. Curiously enough, Impressionism defeated Its own end.

Broken color. Instead of giving fresh, clean color, when pushed to Its furthesf'llmlts. produces a violent grayness. It was left to the post-Impressionists tu achieve brilliant color by painting In flat masses and disregarding tha whole theory of Impressiortpm. The collection, as I mentioned before.

Is biographical In th it It outlines Monet's from the earliest student days to the last period. How dark the early picture are-thos that rocked the aphere of Boudln, because they were thought so high In key- This ts tha Manet period, and Monet's first attempt at the hlgh-key(l palette. How sensitive, and yet luscious In color, are the pictures dating from the 10's through to the middle 90's. These are tbe great Monet's, which, when his contribution as a leader 1 forgotten, will tell his achievement as an artist. The pictures tell the stories of his travels to the Riviera, to Holland, to England and Venice and then to Giverny, where he made his home from 1900 until his death.

The bright colors of his famous garden; the lily-pond, with Its pink and violet lilies, afforded him ample subject matter. His last paint igs were innumerable variations of the lily-pond theme. X9t i in iff irt uTr'ff I ft if I Trench exposition be afforded the opportunity of seeing an exhibition similar In -ope in the Swedish decorative arts exhibition which will open with a piivate view tomorrow afternoon at the Metropolitan Museum and to the public on Tuesday. Brief addresses will be made tomorrow by Ilohert de Forest, president of the museum, and by Ills Excellency VVollmar Uostrom, Swedish Minister to the United States, ilia Kuyal Hit-linens Prince "IVIIhelin of Sweden lms accepted an invitation 10 be present. Dr.

Clregor Paulsson, president of the Swedish Association uf Arts and Crafts, has acted as commissioner general for the exhibition, assisted by Krnst (ustafson as vice commissioner. Dr. Paulsson served in this same capacity in connection with Sweden's participation In the Paris Shown in Swedish Woven By Handarbetels Vanner Decorative Arts Exhibition at Metropolitan Museum Hi-position. It is typical of the care with which the foreign exhibition Is handled and the Important place given to the art of display that archi tectural plans for the layout of the larl Berjraten, architect of the Swedish distinguished appearance of the gallery, which serves to enhance the beauty the objects shown, should bring home to the American exhibition director the importance of the art of display. The Swedish Government has taken great interest In the exhibition and has made a liberal grant towards Its expenses.

During his visit to the L'nlted States last spring the Crown Prince of Sweden suggested to muKeum authorities that such an exhibition might be of Interest to the American public and that he would undertake to make this possible. The museum acted upon this suggestion geometric designs of modern art. The American rug manufacturer would do well to take lessons from the Swedish production, as those who remember the sorry display of American rugs in the recent American Industrial Arts exhibition will attest. We have a native tradition In rug making here. Why not employ artist designers to combine hook rug motives and coloring with modern Ideas? CHINA and pottery form another branch of the decorative arts In which Sweden shines.

Here again the American designers can learn much. It Is a fertile field for the American designer, and one practically untouched. Modern Swedish china Is a sort of faience, usually of some solid color with a design, modern In feeling, drawn upon It In another color or a darker shade. Especially noteworthy Is an exquisite pale green set which I understand sella In the Swedish shops for an extremely low figure. The cast Iron display Is another evidence of the Swedish designer's understanding of the limitations Imposed by the material upon the craftsman.

No attempt has been made, as was the case with the French fer-ronlers, of making iron appear to be something else. These static, heavy pieces can only be conceived In iron, and the design Is an integral part of the form and material. To epitomize the subject I must again quote Mr. Breck: "These Swedish productions give an Impression of permanency of belonging which Is often missing In the applied arts of other countries, where they are more dependent upon the varying tastes of Individuals." over in response to the museum's invitation. THE collection comprises glass, china, textiles, rugs, silver and pewter ware, furniture and wrought Iron.

The objects are arranged on Htands covered with rose velvet, which makes an effective background for the predominating gray tones of the glass the walls and furniture placed about the rare occasions when the bleak and haft been transformed Into a distinguished ensemble. A brief history of the Swedish Decorative Arts movement Is essential in explaining Its vitality and rationalism. It serves also as an excellent example for the American manufacturer to follow, pointing the moral that he may go and do likewise. To go back first to a general resume of the conditions which brought about the present International renaissance of has announced Its annual competitions for fellowships In architecture. landscape architecture, painting, sculpture, musical composition and classical studies.

In the fine arts the competitions are open to unmarried men, not over 30 years of are. who are citizens of the L'nlted States; In classical studies, to unmarried citi zens, men or women. For each fellowship In the fine arts the stipend Is S1.2S a year for mree years, with additional allowances of 150 to 1100 a year for material and model hire; In classical studies there Is a fellowship for ons year, with a stipend of 11.150. and fellowship paying $1,250 a year for two years. Extra Travel Allowam-e.

All fellows have opportunity for extensive travel, and fellows In musical composition, who travel about six months of the year In visit ing tne musical centers of Europe, receive an additional annual allow ance of $760 for traveling expenses. the case of all fellowships resi dence and studio are provided at the Academy free of charge, and the total estimated value of each fellowship is in excess of $2,000 a year. The Grand Central Art Galleries of New York City will present free membership in the to the Painter and sculptor who win the Rome Prize and fulfill the obligations of the fellowship. Architectural Conditions. Under regulations revised this year for the competition In architecture, graduates of accredited schools will be required to have had architectural office experience of only six months.

Instead of a year, as formerly, and also men. who are not graduates of such schoola may enter the competition. If they have had at least four years of architectural office experience and are highly recommended by a Fellow of the American Institute of Architects. Entries for all competitions will be received until March 1. Circulars of Information and application blanks may be obtained by address ing Roscoe executive secretary.

American Academy, In Rome, 101 Park Manhattan. Exhibitionsof theWeek BItOOKLYX. Art Gallery Pratt Institute, Ryer- son st. Water color paintings by Olaf Olson; to Jan. 22.

Brooklyn Museum Commencing Jan. 28 exhibition of water colors by American artists. Permanent collections. Javanese batiks and East Indian stuffs, assembled by Miss Eliza Niblock. Beecher Memorial Gallery.

Plymouth Institute Paintings by C. E. Polowetskl. MAXHATTA.V. Art Center.

65 E. 66th st. Group exhibition, paintings, wood carvings, drawings; to Jan. 80. Thomas Agnew Sons, 125 E.

67th st. Old masters of Venetian school. Anderson Galleries, Park ave. and- 5 9th st. Paintings by Richard Wyndham; to Jan.

22. Babcock Galleries, it) E. 49th st. Water colors by Stan Wood, Daniel Galleries Paintings by contemporary American painters. Durand Ruel, 12 E.

67th St. Paintings by Claude Monet. Valentine Dudensing Galleries, 43 E. 67 th st. Paintings by Henri Matisse.

Dudensing Galleries, 45 W. 44th st. Paintings by William Schulhof; to Jan. 22. Duveen Galleries, 720 6th ave.

Portraits by Frank Salisbury; to Jan. 29. Intimate Gallery, 489 Park ave. Paintings by Georgio O'Keefe; through January. Harlow Galleries, 712 5th ava.

Etchings of dogs by Marguerite Kirmse. Frederick Keppel, It E. 67th st. Etchings by Joseph Pennell. Knoedler Galleries, 14 K.

67th st. water colors oy airs, otewart Walker. Kraushaar Galleries, 680 6th ave Drawings and lithographs by Dau-mier Guys, Lautlec Foraln; to Jan, 22. Macbeth Galleries. 16 E.

67th St. 30 paintings by 80 artists; to Jan. 31. Metropolitan Museum Swedish decorative arts exhibition, commencing Jan. 18.

Milch Galleries, 108 W. 67th St. Portraits by Millie Bruhl Frederick; to Jan. 22. Montross Galleries, 26 E.

66th st. Water colors by Charles Hopkln-son. New Art Circle, 85 W. 67th St. Max Baud exhibition.

New Gallery, 600 Madison ave. Paintings by Merton CUvelte. National Art Club, 119 E. 19th st. Annual exhibition of paintings and -culpture by members.

Rehn Galleries Paintings by Leon Kroll. Relnhardt Galleries, 730 5th ave. Loan exhibition of paintings from El Greco and Rembrandt to Cezanne and Matisse. Seligman Galleries, E. 61st St.

Drawings by Ingres. Weyhe Galleries, 794 Lexington ave. Sculpture by Flannlgan. Whitney Studio Club, 14 W. Ith st.

Paintings and drawings of women by men; to Jan. 22. Wlldensteln Galleries, 647 5th ave. Water colors by Constantln Guys. For the Becond week of the engagement of the Hablma Players at the Cosmopolitan Theater they will present "Jacob's Dream" tomorrow.

Wednesday, Saturday and Sunday evenings and Sunday matinee; "The Eternal Jew" on Tuesday evening, with Anna Rovlna, and 'The Dyb-buk" Thursday and Friday evenings and Saturday matinee. Miss Rovlna will also appear in the latter play. TO FAVOR the decorative art: In the middle of the 90's, but for the most part during the first decade of the Twentieth Century, there sprang up movements In France, Vienna and Munich to bring about a new stylo in the decorative arts. TIIE first efforts were grotesque and impractical, and consequently shortlived, because they were too obvious and forced an effort to break away from period motives and ajsu because the forms used reflected fredlt, however, must-he given to an movement to resuscitate the moribund short-lived movements were the Art Wiener designs, which start weie period, and the Munich Secession. As the movement developed It became rationalized, because designers realized that If a new style was to be developed It must reflect modern conditions.

We live In an age differing radically from any preceding one. It Is the age of machinery, Ihc age Following close upon the exhibi tion held at Durand Ruel's. com memorating Fifty Years of Impres sionism, comsa the Claude Monet Memorial Exhibition. It was a curious coincidence that the death of tha founder cf the movement, which occurred on Dec. 5.

should almost have coincided with the 60th anniversary of tha first impressionist exhibition to have been held at the galleries of Durand Ruel. The combination of events commemorated by these exhibitions and the large amount of editorial com ment which appeared on the subject nave been of considerable value in affording reviews and re-estimates of tha period. While in the eyes of the younger generation Monet and Impressionism are passe, and the cause for which he fought having long since deteriorated into a sweet academic formula. It is probable that tne pictures of his best period, when he was more painter than theorist, will, in due course, be given the high place they deserve. Monet Cheered Struggling Group.

Sett'ng aside the point of whether or not Monet equals Renoir and Cezanne In esthetic Importance, the fact remains that It was Monet who cheered on the group during their days of greatest discouragement and revilement; who kept them together: who arranged their exhibitions, and finally brought them far along the way to popular recognition. In fact, Renoir said that had It not been for Monet, he would have given up painting. Monet, because he had a definite theory to defend, namely, the painting of fugitive effects to outdoor light on the color of the landscape, was the Instigator of the group exhibition in which he and like-minded painters took part and which later came to be called the Impressionists, after one of Monet's paintings named "Impressions." These radicals were like-minded only In so far as they had also broken with tradition end eschewed the dark studio palette for the high-keyed one of out-of-doors. None of them, excepting Sisley, followed Monet along the lines of scientific experimenting with broken color. Ills Work Monet's Biography.

Monet's work Is his best biography. Hia life has little in it of Interest other than hia pictures and his long fight for the cause In which he believed. Briefly, the facts are as follows: The son of a merchant of Havre, born In Paris Nov. 14, 1840, he died In Giverny Dec. 6, 1926.

He first studied painting with Boudln, but because of strenuous family objections he gave It up and went Into the army. Being forced to retire from the service on account of 111 health, he persuaded his family to allow him to study painting. They consented on the condition that he would study with a well-known painter. The choice was Gleyre. Less than a year later Monet left the atelier of Gleyre, because his discovery of the high-keyed paintings of Eduard Manet showed him the direction in which he wished to go.

From this time on he centered his M. KNOEDLER AND COMPANY Exhibition of FRENCH ART of the last fifty years JANUARY 17 TO JANUARY 14 EAST 57th STREET 1ET. FIFTH AND MADISON AVENUES LOAN EXHIBITION OF i PAINTINGS from- EL GRECO REMBRANDT CEZANNE MATISSE January tS1 to i9t i Catalog for the benefit of tht Greenwich House Music School REINHARDT GALLERIES 730 Fifth New York PAINTINGS and DRAWINGS by Jean Julian LEM0RDANT Now Current WILDENSTEIN GALLERIES 647 Fifth New York F. EDWIN CHURCH Paintings Jaaeai-r 1 te tatb MONTROSS GALLERY East lh Mtreet, New Vork PAINTINGS IN TEMPERA BT FRANK S. HERRMANN "lift January S9th GALLERIES aal 49th New York of mass production, oi space economy, and necessities, of modern conveniences, electricity, airplane and speed Xew concepts of life demund new forms.

Just as our speech has altered to suit our thoughts, and we no longer other forms of expression assume a different form. R. BRECIC, curator of decorative arts at the Metropolitan Museum jar 4 Paintings and Wood Cartings at Art Center Wood carving as a medium for sculpture, because of its inherent sculptural quality and because of the personal touch which only cutting direct gives, Is attracting an Increasing number of sculptors. In the main gallery of the Art Center, 65 E. 66th there is being held w-hat might be called a symposium of modern wood sculpture.

The works of 17 of the most expert exponents of the art have been assembled by Alon Bement, director of the Art Center, in an ensemble that 1b distinguished and unusual. The gray walls of the high cellinged gallery and the effective grouping of the sculptures, if they fitted into some niched nave or channel, give a medieval note to the collection, Intensified by the brooding spirituality of Mcstrovic's monumental Madonna. Throe Sources of Inspiration. Wood carving hrs three sources of Inspiration, the religious carvings of the Gothic cathedrals and wayside shrines, the peasant carvings of Russia and Central Europe and African sculpture. The sculptures In the present collection divide themselves into those groups.

Konenkov and Mestrovic dominate the exhibition, the former pagan and anthropomorphic as opposed to Mestrovic's spirituality. Konenkov carves the gnomes and sprites of the woods and eai'h and the subjects of Russian folk lore from the curious shaped tree trunks and roots which he chooses for his material. It is almost as If they had always been there waiting for the releasing touch of the sculptor to give them form, such Is the spell tney cast. Sudhlnln, In contradiction to the native tang of Konenkov's sculpture. Is the epitome of the Pai-iatanize-l Russian artist.

His mannered sculp tures of religious and mythological subjects combine Byzantium and the Ikon spirit In a sophisticated, styl istic formula. Oilier Sculptors lie-presented. Other sculptors, whose work calli for special attention, are Robert Laurent, William Zorach, Alexandre Ulazys, Trygve Hammer, Alexander Archlpenko and Simon Moselslo. A collection of Mestrovic drawings. not shown before In New York, aie Included with the sculptures and add considerably to the Interest of the exhibition.

Boris Anisfeld is showing a col lection of paintings, water colors and drawings for stage eettings -n the upstairs gallery. The novelty of modern Russian decor has somewhat worn off, due to the great number of Russian artists who have ex hlblted their works In New York in recent In spite of this, Anls-feld's work retains a quality of imagination, a richness and varleiy of color which still works considerable magic upon the beholder. The present collection Is Interesting in that he is to be seen both as dec orator and straight painter. Burton Holmes Lectures Burton Holmes, dean of Ameri can travelers, will offer for his 34th season of Travelogues, under the direction of the Brooklyn Institute of Arts and Sciences, his Impressions and reflections of scenic America as "logued" by him during what was known as the "First American Land Cruise of 1926." This is to be followed by a pictorial exposition of the cruise to Iceland and Norway. The third topic In his course of five new pictured journeys will focus attention on the outstanding factors and the picturesque makeup of Holland.

For his fourth and fifth subjects he will present "Switzerland" and the "Great World Cruise," stressing in the former the winter aspects of the famous Alpine playground and In the latter the less familiar and more picturesque lands which lie below the equator. Mr. Holmes' Brooklyn season will consist of five consecutive Tuesday evenings, beginning Feb. 15, at the Music Hall, Academy of Music. DESIGNERS RESTORE PEWTER 2 fWw yj gives the following brief but suggestive outline of the psychological conditions which helped to bring about the revolt from the slavish dependence upon period styles which "Our age is too rich In new meanings and new endeavors to be Im prisoned In the forms of other days.

The achievement of pure beauty the constant factor In esthetic experience must be enriched with Intel present exhibition were sent over by Pavilion In Paris. The resulting and the present collection was sent and metal ware. Rugs are hung on the sides of the gallery. It is one of barren gallery ot special exhibitions something entirely different and In no way the spirit of the times. impulse which started the widespread decorative arts.

Home of these Xouveau of the Malson Blng, the first more extreme than those of the of the scrapping of old conventions use Elizabethan English, so must obtained In the Nineteenth Century own times If ttiodern art Is to yield surround ourselves with the flotsam erudition, however profound, no ro reflect our deepest Interest. And a post-war achievement. During who had been living In Paris and Many of them found themselves as Sweden did not possess a suf keep them all occupied. In 1917 an in Stockholm. Before this Dr household arts.

Inasmuch as many of revival In Sweden. The new forma do sturdier, more utilitarian medium, the Georgia O'Keefe Georgia O'Keefe, the much-discussed painter, whom Alfred Stlcg-litz Introduced as "Georgia O'Keefe, American," on the occasion of her first one-man show at the Anderson Galleries, four years ago, Is showing 40 new paintings, which are new variations on those subjects which she has made peculiarly her own closeups of flowers and fruits. The exhibition Is being held in the Intimate Gallery, Room 303, Anderson Gallery Building, which gallery Is. as Its name suggests, a small, Informal room, where are shown from time to ttme in special exhibition the works. of the five Americans Marin, Dove, Hartley, Demuth and O'Keefe whom Stleglitz believes to be truthful Interpreters of the American spirit.

O'Keefe's work has attracted much attention and caused much discussion primarily because it Is starkly personal, reflecting no other painter, and because it has been possible to read into It which have nothing to do with painting I. for one. am inclined to think that the writers, who Insist upon interpreting her work In terms of hlolngy and psychology, not only miss its real beauty as painting, but have done her actual harm In the eyes of the art-loving public. (O'Keefe once said to me, "Wise men have said my work Isn't art. But what if It Is children and love in paint? There it Is color form, rythm.

What does it matter If its origin be emotional or esthetic?" It la enough for any painter to stand on the merits of his work ts To have achieved a new Interpretation of so truditional a subject as flowers and fruit still lifes, to have brought to it a new-style arrangement, a new technique, is no small accomplishment. And O'Keefe has done this. paints giant closeups of purple black petunias, of flaming cannas and dead white calla and arrangements of apples and alligator pears as no one else has done before. She sees them, singularly removed from effects of light and shade, merely as interesting shapes possessed of infinite gradations of color. Because of her interest in clean, perfect shapes it waa Inevitable tiiut she should have painted the clean perfect shapes of sea-shells.

Several large-scale versions of the common clam shell are Included in the prerent collection not commonplace, however, when she brings to her statement of them a sensitive appreciation of the subtle color gradations which occur not only in the inner, iridescent surface, but tn the dull, chalky gray outer surface. There are few conceivable subjects which so put to test her ability to paint cleanly and clearly a single unrelated object, and yet relate It to all of life. SWEDISH lectual associations significant of our full measure of enjoyment. We may und the jetsam of the ages, but no mantic craving, however desirous, can ever make us see the relics of the past with the eyes of those for whom they were made. If art Is to be a vital part of our lives It must surely a sentimental antiquarian, (flitting from one historic style to another, is not the sole or the most profound Interest of our generation." A series of German operettas, both of the old and the new school, may be produced In New York next tea-son under the direction of Lew Fields, veteran comedian and producer, according to an announcement by the Allgemelne Deutsche Komitat, now en route to the United States.

Part of the program of this committee, which la to arrive in America next week, concerns tha stage. They are anxious that th best of the German stage be shown each season to American audiences. C. W. KRAUSHAAR Art Galleries 680 Fifth Avenue, New York EXHIBITION OF AN IMPORTANT COLLECTION OF Drawings, Etchings and Lithographs by DAUMIER FORAIN GUYS TOULOUSE-LAUTREC January 10th to ttd DURAND-RUEL RETROSPECTIVE EXHIBITION of PAINTINGS by CLAUDE MONET Itoiirr 8 to 19 12 EAST 57th STREET NEW YORK Fifteenth Annual Exhibition of Thhrty Paintings BY Thhrty Artists L'nfi'l January Slit MACBETH GALLERY TimuM If I bt William HasMft IS BAST SITH STREET, NEW TQM EXHIBITION OF PAINTINGS BY CZOBEL January 17th to February lttk BRUMMER GALLERIES 27 East 57th New York EXHIBITION OF WATER COLORS FRED PYE January 17th to January Slit AINSLIE GALLERIES 677 Fifth Avenue, New York ONB WEEK ONLY CLOSES JANUARY 2 2ND RICHARD WYNDHAM 1 THE ANDERSON GALLERIES ERNEST LAWSON LARS HOFTRUP FERARGIL 37 Eaat 57th Street, N.

Y. return to Sweden's accomplishments and Its genesis: Swedish deco- I ratlve art In It modern form the war many Swedish artists Vienna were obliged to return home. Iwthout means of livelihood Inasmuch ficiently large art-buying public to Arts of the Home exhibition was was held Richard Wyndham A young English painter, Richard Wyndham, is being Introduced to the art-loving American public In a one-man show of paintings and water-colors at the Anderson Galleries, Park ave. and 69th st. Mr.

Wyndham, we are told. Is one of tho outstanding exponents of modern British art a movement of which we know next to nothing In this country, due largely to the fact that it seldom occurs to the American painter to look across the channel from France to see what reflexes the modern movement has brought about in England. Mr. Wyndham has unquestionably been susceptible to French Influences, if he has built up an individual and whimsical style of his own. I should say that Seural and Picasso wore his admirations.

He takes such well-worn themes as Venice or other picturesque Italian towns, with a special emphasis on their baroque architecture, and reduces them to curioue arabesques of color. The eftect is almost one of colored mosaics. In every case It Is the shapes of thing0 and their relation to a pattern which interest him. The effect Is one of nalvette and extreme sophistication, which is, after ail, a combination of attributes not peculiar to England, a large group of naive sophisticates existing in this coun try. Mr.

Wyndham uses tempera and water color for his mediums. Since this is his American debut. It is permissible to tell something of his history and antecedents. He is the grandson of Lord Edward Fitzgerald, who led the Irish rebellion in 1798: his uncle was the Hon. George Wyndham, who unsuccessfully tried to bring home rule to Ireland 20 years before it happened.

Mr. Wyndham's aunts are the three lovely Misses Wyndham whom Sargent Immortalized in the portruit called by Edward VII "The Three Graces." Richard Wyndham went to war at 17 and made his first drawings while In active service In the Btlkana. Ilia first teacher was Wyndham Lewis, the leader of the trltlsh modern movement, which was called Vortlcism. He belongs to that fascinating post-war group cf yountf English artistic and literary arlst craU who. In Bplte of their leisure and incomes, are nevertheless far removed from the dllletantl class.

Internal evidence regarding the type of persons who buy his pictures Is afforded by the' catalogue. In which are listed the names of people who have loaned pictures. Among them are Sir Joseph Duveen, the astute picture collector, and Sir Sacheval Sitwell. the poet. Ferdinand Hodler The paintings of Ferdinand Hodler, the celebrated Swiss painter, sometimes called the Swiss Cezanne, are, practically unknown to American art lovers, although In Europe, and especially In Germany, his work was greatly admired.

A small cot-lection of his paintings and drawings Is now being shown at the Art Center, which, In spite of the small representation, gives a fairly accurate picture of his pungent, vigorous style. He was a disciple of Impressionism in that he used the high-keyed palette and followed Monet's scientific rules of complementary colors. But his work was entirely without the Ingratiating qualities of the Impressionists. In point of view it came nearer to Cezanne's although he never gave himself over to the profound svudy of form which was Cezanne's major preoccupation. It Is rather a violent linear pattern which interested him rugged and harsh, but always powerful.

The German artist Is perhaps more Intrigued by force than by charm, which may account for Hodler' popularity with the German collector and painter. In (he recent International Exposition In Dresden. Hodler was given considerable space in fact, was featured with the Norwegian Munch as one of the foremost Influences upon modern German painting. Hodler's work has been decrlbed as exhaling the shnrp, ice-cold air of the Alps. I'nqoestlonlngty there is something clear and powerful in his presentation of his sulent.

ns his eye, used to the clean-cut outlines of the Alps, must sot down his relations to nature In similar clsan out, violent Uaaa. (Jregor Paulsson had, in print and on the platform, urged the artists to bring their creative talents into the field of industrial arts. The result was a renaissance of the Swedish the foremost painters and sculptors acted on his suggestion and turned their creative talents to practical purposes. "More beautiful things for everyday use," became the slogan of the day. The movement continued to draw new recruits from the fine arts, with the result that Sweden's art in Industry revival Is the most successful experiment of Its kind In Europe.

The venerable handicraft societies played an Important part In developing the movement. They preached the gospel that the new designs xliould reflect the spirit of the age and be suitable for machine production, and that It was the height of absurdity to expect a machine to copy the distinctive quality of handmade work. They aiso pointed out the fact that Sweden had a distinctive native tradition In the applied arts, and that designs which were developed from these national motives would be sounder and more popule.r than those that were superimposed or entirely original. ANOTHER good reason for the popular success of the modern Swedish decorative arts movement Is the fact tha the things are reasonably ticed. It Is no Industrie da luxe movement, as It Is France, only to be enjoyed by the few, but a popular one.

They tell me that the peasants and people of the lower classes are so Imbued with the new movement that they will buy nothing else. This widespread acceptance of the movement was, of course, not accidental and much propaganda was necessary to put it over, In the form of lectures, pamphlets and Instruction In the schools. Also the manufacturers, having found that It was paying others to make new designs, have practically all gone over to the new movement. And It was an economic necessity that they do this. Inasmuch a German designed In the modern spirit, were commencing to flood their market.

THE Orrefors glass display will probably attract the greatest attention In the present collection. This Is the product of a young firm which had the vision to employ artists to make their designs and to make scientific researches In the irt of giassblowing. The result Is the now-world-famous Orrefor glass. -WPft liill Pewter Is having an Interestinit not attempt to carry over Into the and refinement of silver, but are Indicative of the quality of tin metal. Rugs ais another extremely succeufjil medium for the new designs Inkwell and Mirror Designed by Anna Petrus and Made by Herman Bergman Art Foundry in Swedish Decorative Art Exhibition at Metropolitan Museum shew a later as lag eamsiaaooa of a yatatat mtUrw wlU ta.