The Brooklyn Daily Eagle from Brooklyn, New York • Page 67

THE BROOKLYN DAILY EAGLE. NEW YORK. SUNDAY, JANUARY 23. 1927. 7 NEWS AND VIEWS ON CURRENT ART -ia.

THE CONNOISSEUR Watercolor 'Exhibition Announced by Brooklyn Museum The Brooklyn Museum announces lA SORTIE DU CONSERVATOIRE swii. "a-Kspiii 1 Is i 1 VJ'' j'i ncrriF i-x'-T A Week's Exhibitions Afford a Resume of 19th Century Art By HKLKX APFLETOJf READ. PHE MIDDLE of January finds the exhibition amaon at it high-watsr mark. Such la tha variety of art offered by muaeunu and dealera that a compoaite view of the week' offering's lives a brief but effective outline of the story of art from Renalasanca daya down to the present. It so happens that two of tha outstanding exhibitions.

In being retrospective in content, aid considerably in emphasising the retrospective roior )f the week. These are the distinguished loan collection of paintings from El Greco and Rembrandt to Matisse and Cexanne at the Rein-hardt Galleries In aid of the Greenwich House Music School, 60 years French painting at Knoedler 1 palntinga by 10 artists at tha Macbeth naileries and the resume of French graphic arts of the Nineteenth Century it Krauahaar's. To adequately illustrate in the small compass afforded by the 2 pictures which comprise tha collection at Relnhardt's, the tendencies of painting from the Seventeenth to the Nineteenth Century Is. of course, impossible. accomplish this It would be necessary to have had access lo many more collections and to have borrowed the best or most typical 1 Jimv eA A 'A i examples from these In order to Illustrate In a single example the periods Tor which they stand.

This not being be regarded more as a remarkably possible, the exhibition should really varied collection of pictures, to be Mi Vv' V4 'V if I 4 UV enjoyed for what each one offers, than for any clearly defined history of art which they relate. INCIDENTALLY. It speaks well for the Increase of Intelligent collecting In this country when so line a group of lplcturea can be assembled without having had to borrow from the four or five oelebrated collections. With the exception of (he Van Gogh loaned from the Lewtsohn collection, the majority of the pictures come from ones relatively unknown. The gem of the old master, group la, of course, the sumptuous Rembrandt, a.

portrait of the lll-fatod Lucretla. Jt has only recently come to light and was sold last year to Mr. Herschel Jones by the Relnhardt Oalleries. It ha not been publicly exhibited In this country and art lovera are advised not to miss the Opportunity of seeing so stirring and typical a picture by the great Dutch master. Pictures by Velasques, El Greco, Goya.

Fran Hals, Hobbema. Reynold and Raeburn are shown In the same gallery. Of these, the Goya portrait of a lady will probably call forth the greatest Interest, a It 1 Goya in an Infrequent aspect, blond In color and less trenchant an observer of charaeter. It I not much a personality a a type that he ha given us In tha fashionably garbed, elaborately head-dressed woman. The portrait ha something of the Impersonality of the Eighteenth Century French portraits.

What it loses from point of view of character It amply makes up for In the Interest of the arrangement and the exquisite treatment of the detail of dress and accessories. DAVID bridge the Eighteenth and. Nineteenth Centuries in his cold, life-leas portrait of Mm. Da Sovran, loaned by the 'Wlldenstetn Galleries. By Pierre Augustc Renoir Shown in the Loan Exhibition of Paintings at the Reinhardt Galleriei for the Benefit of the Greenwich House Music School.

How extraordinary It 1 to think that those troubled and adventurous Says should have chosen for their artlstlo Idiom the uverlty of the classic Formula! How auperlmposed It was and foreign to the trend of thought Is evidenced by It short life, the whose work has lived David and Ingres and that the reaction against It was so violent and abrupt. Daumler, the great graphic artist of the Nineteenth Century, register In hi paintings that violent break with the classicism of David and the romanticism of Delacroix. He was the fact that It had only two exponents life could be subject matter for art Daumler, "The Uprising," to illus Tha picture Js described by the Rrst artist to And that the material of Duncan Phillips loans hi famous trate this momentous turning point, the public opening on Saturday, next, a large exhibition of water- colors, pastels and drawings which will occupy all of the gallery space in tha west wing of the museum's art department. The museum's in terest In this branch of art la well known and la attested by Its large, permanent display of watercolors and by the fact that the coming ex hibition Is the fourth or Its kind which. baa organized.

The exhibit sets out to show the present state of the art of watercolor and, with 1 few exceptions, follows the museum's, usual custom of not showing the work of artists who have been Lepreneoted In the preceding show. A fOO Artists Mated. Th catalogue lists the names of more than 100 artists who are rep resented by more than 800 exhibits. A considerable number of works uf artists who paint in California and the Southwest are included and many of Brooklyn artiste are also represented. In addition to this exhibition a section of the museum's European gallery Will be devoted to a special showing of a group of about 20 nil paintings by the Swedish artist.

Oustaf Adolph KJaestad. FJaestad was born at Stockholm. Dec. 2 2, 1868. and studied at the Royal Academy of Fine Arts there.

H' has exhibited at Paris. Munich, Vienna, Rome and London and was awarded the Grand Prix at Paris and decorated by the King of Bavaria. His work- has been alrnost entirely concerned with the painting of Swedish rural landscapes. The public opening of these exhibitions will be preceded by a private view for museum members ana their friends on Friday evening. Jan.

28. and the exhibition will continue on view until Feb. 2 8. Watercolors by Pye At Ainslie Galleries A delightful group of watercolors by Fred Pye, painted for the most part in France and Italy, are now on view at the Ainslie Galleries. Mr.

Pye Is an accomplished technician who, without being old-fashioned or reactionary in his point of view, nevertheless prefers to employ his proficiency In setting down his reactions to visual reality rather than putting It to the service of pure design or structure. Mr. Pye's swift, staccato method Is admirably suited to setting down his quirk, clean-cut Impressions ot places. A collection of his pictures serves as graphic diary of the enchanting and picturesque places which he has visited. Mr.

Pye's work Is greatly admired In Paris, one of his watercolors hav. Ing recently been purchased by the Luxembourg. Exhibitionsoi theWeek BROOKLYN. Brooklyn Museum Exhibition of water colors, pastels and drawings, Jan. 29 to Feb.

27, Inclusive; exhibition of paintings by Gustaf Adolph FJaestad, Jan. 29 to Feb. 27, Inclusive; exhibition of woodcuts by Gordon Craig, Print Gallery, Jan. 28 to Feb. 28.

Inclusive. Beecher Memorial Gallery. Plymouth Institute Paintings by C. E. I'olowetskl.

Ainslie Galleries. 677 6th ave. Water colors by Fred Pye, paintings by Pauline Williams; to Jan. ill. MANHATTAN.

Art Center, 65 E. 66th st. Group exhibition, paintings, wood carvings, drawings; to Jan. 30. Thomas Agnew Sons, 126 E.

67th st. Old masters of Venetian school. Anderson Galleries. Park ave. and 69th st.

International Exhibition of Modern Art. commencing Jan. 25. Babcock Galleries, 19 E. 4th st.

Paintings In Tempera by frank Hermann; to Jan. 29. Brummer Galleries, 27 E. 57th St. Paintings by Czobel; to Feb.

12. Daniel Galleries Paintings by contempornry American painters. Durnnd-Ruel, 12 E. 57th st. Paintings by Claude Monet.

Valentine Dudenslng Galleries, 4S E. 57th st. Pulntlngs by Henri Matisse. liuveen Galleries. 720 6th ave.

Portrnlts by Frank Salisbury; to Jan. 29. Intimate Gallery, 489 Park ave. Paintings by Georgia O'Keefe; through January. Grand Central Galleries, 15 Van.

derbllt ave. Sculpture by Jen-eywien, paintings by Walt Kuhn; to Feb. 2. Frederick Keppel, 16 E. 67th st.

Etchings by Ernest Helntzelman. Knoedler Galleries. 14 B. 57th St. Fifty years of French Painting; to Jan.

29. Kraushaar G-illerles. 680 5th ave. Drawings and lithographs by Daumler, Goya Lautrec, Koraln. Macbeth Galleries.

16 E. 57th st. 80 palntlnrs by 80 art'sts; to Jim. 81. Metropolitan useum Swedish decorative arts exhibition.

Montross Galleries, 26 E. 60th st. Paintings bv Church. New Art Circle, 35 W. 67th st.

Paintings by Levlnson. New Gnllsrv, 600 Madison ave. paintings hy Merton Cllvelte. National Art Club. 119 E.

19th St. Annual exhibition of paintings and sculpture by members. Kehn Galleries Paintings by Henry Lee McFee. lielnhardt Galleries. 730 6th ave.

Loan exhibition ot paintings from El Greco and Rembrandt to Cezanne and Matisse. Sellgman Galleries, 3 E. 51st St. Drawings bv Ingres. Wevhe Galleries.

794 Lexington nVe Sculpture by Plnnnlgnn. Wlldensteln Galleries. 647 5th ave. Wnter colors by Constnntln Guvs; paintings and drawings by Jean Ju-llen Lemardant. Exhibition of PORTRAITS by ALFRED H0EN January Si to February 5 JOHN LEVY GALLERIES 559 Filth Ntar 46th St.

Etchings of Ancient Dances by TERESA CERUTT1-SIMM0NS and Water Colors of Wild Life by WILL SIMMONS Jiinunrjr Kith FVhruarv ttlh MILCH GALLERIES 108 West 87th New York Shown in the Exhibition of 30 Paintings It Is tonic to see a really finely chosen group of pictures by American painters of old guard such as is afforded by the Thirty Paintings by Thirty Artists which the Macbeth Galleries puts on every year and which is now current. Because the group Includes many of the long accepted artists does not mean that it is necessarily made up of old-fashioned or academic painters. The painters paint as they do, or did, since many of them are dead, beoause the majority of them had a distinct, personal way of reacting to things. In the aggregate, however, the collection strikes one aa being distinctively American, American being Interpreted to mean an absence of the bltarre and exotic, an tnterest in attractive subject matter and insistence upon good craftsmanship. No matter to whatever revolutionary brand of painting the American painter may have apprenticed himself at one time, if he eventually amounts to anything on his own he seldom goes it one better.

American Painters Always Restrained. A certain American common sense, an. absence of excess, prevents him from being extreme. So Hassam, Weir and Twachtman, the American Impressionists, represented by superb examples In the present group, have neither the excessive theorizing; of Monet nor the rich sensuosity of Renoir. They may be lyrical, sensitive or emotional, but they are always restrained.

Even the followers of the modern school, none of whom are Included In the present group, are the moat representative when they are' most restrained McFee, Dickinson, Scheler, Marin, to mention a few. The Amer Pauline Williams' Work At' Ainslie Galleries Portraits, miniatures and paintings of Gloucester by Pauline Williams are being shown at the Ainslie Galleries. Miss Williams Is well known to those who follow the annual miniature society exhibitions, as It is the only medium she employs to put herself before the public. She is, however, quite as proficient in the realm of landscape painting and portraiture as in the other- a proficiency seldom found In the artist who makes miniature painting a specialty. Her Gloucester landscapes are notable for her fresh, bold handling of the medium and her ability to record subtle variations of tone.

Setting aside her technical proficiency, she is also successful In being able to invest her subject with the flavor of place. In portraiture she has been especially happy In her delineations of children. Her predilection for fresh, singing color stands her in good stead when' she paints red cheeks, golden hair and gay frocks. F. Edwin Church The Montross Galleries welcome a newcomer Into the exhibition world, F.

Edwin Church, who is holding a one-man show at these galleries until Jan. 29. Mr. Church divides his interest between landscape painting and portraiture. He hAs a fresh, direct attitude toward his work; only painting those aspects of the universe which he finds humanly attractive.

He la little concerned with eethetlc theories, or, if he Is, prefers to incorporate them, in arrangements which shall at the same time be theory of broken color Inaugurated him, was named Polntlllsm, to its dinary color effects by this method, By William Chase Thirty Paintings by Thirty Artists by 30 Artists ican genius best expresses Itself that way. It becomes vulgar and out of tune when it attempts to show European temperament and sophistication. The Era of Technique. Duveneck and Chase represent the era of technique, when brush work was the slogan Duveneck with a portrait of Frank Currier and Chase with an enchanting glimpse of the old loth st. studio, the rallying ground for young American, art in the 80s and 90s.

How it evokes a period! The brass kettles and pots, the Japanese kimonos and Eastern embroideries, the peacock feathers and Jars of brushes all bespeak the 1 period when the skllirul manipulation of pigment, the deft placing of a highlight, the exact rendition of a piece of drapery was the goal to be sought. Other American old masters Included In the group are the romanticists, George Fuller with a portrait of a young woman and Albert Ryder with his famous marine "The Toilers of the Sea." Robert Henri is at his best in- the vivid portrait of a small boy chosen to represent him; George Luks Is less the exponent of the slushing brush stroke and more the sympathetic portrayer of humanity In "The Redfleld in the winter landscape "The Laurels" was never more the sane, coolly observant recorder of American landscape In the grip of winter, which Is his special role in contemporary American painting, and Thomas, Dewing Is his most exquisite and meticulous self in nls typical figure study "The Letter1 Other painters Included In the group whose pictures call for special comment are Arthur B. Davles, Paul Dougherty. Emll Carlson. Elliot Dangerfleld and Robert Spencer.

faithful presentments of places he has enjoyed. His portraits Illustrate the same point of view. They are well painted and besides which bear that stamp of authority which only results from being a good likeness. Lars Hoftrup The work of this gifted painter Is at last being given the consideration of a one-man show. It is being held at the Ferargll Galleries and should not be missed by connoisseurs and collectors.

Hoftrup has exhibited his watercolorB from time to time in group shows. On each occasion It has been recognized by the discerning as one of the outstanding achievements in American water-color painting. When he first exhibited his pictures at the Brooklyn Museum's watercolor exhibition in 11)22 the trustees chose three of them for the permanent collection. Similar evidences of appreciation have ensued whenever he chose to exhibit. Unfortunately he Is of a retiring and modest disposition, and It is only through the persistent efforts of his friends that he can be persuaded to put his work on display.

The present collection Is divided equally into watercolor and oils. Oils are a newer, less famlll.ir medium for him, but he carries Into it the same luscious fluid use of color which his watercolors possess to so remarkable a degree. Mr. Hnftrup has traveled extensively, but the picturesque scene, the exotic landscape, are not a necessary adjunct to. Inspiration.

Slalne and Connecticut, New York and Massachusetts are painted with the same sensitive appreciation -f color and light, design and form as the more obvious enchantment of Italy and France. by Monet, and which, as practiced by furthest limits, lie achieved extraor but no small part of their appeal lies French critic Arseua Alexandra a "'the greatest we know of, or are ever likely to know of, by Daumler." THE GALLERY given over to Nineteenth Century painting Is perhaps more varied and exciting In It content than that devoted to Seventeenth and Eighteenth Century painting, not only for the reason that the Nineteenth Century offer the very pole of painting from which to make collection of -startling- contrasts, but also because more first-rate exam-plea of this period exist in collection available for loan exhibitions. The Nineteenth, Century, for all that It can be divided Into clearly differentiated schools, bring out the point that, after all 1 said and done nd the painter neatly pigeonholed Into Romanticists, Classicist. Impressionists and Post-Impressionists, as the case maybe, the story of art remain a collection of widely differing personalities. The Impressionist are thought of a a group, with similar Ideals, because, roughly speaking, they broke with traditional subject matter and painted the life about them, and because they used a high-keyed palette.

But could anything be more dissimilar than the Renoir, Manet, Cezanne and Konet Included In the present collection Tet each picture Is a typical example, but as varied a were their personalities. a FOR EXAMPLE, take Ceianne' attitude toward painting a portrait of a woman and contrast It with Renoir's or Manet's. Ceianne saw a woman -In this case the portrait of Mm. Cesanne merely a a peg, so to apeak, on which to hang hi theories about form and structure. It was Immaterial whether he was beautiful or ugly; she was impossible of stirring any amotion In him while painting her other than how (he might erv as subject for his theories.

Renoir, on the contrary, had an enormous xest for life. He painted sunlight, women, flower and children with a sensuous Interest In their beauty a ueh golden light, lovely, warm flesh, color, movement, were all set down In the vibrating color which were hi special contribution to Nineteenth Century painting. Manet was equally susceptible to the good thing of life, which he painted with a personal appreciation of what they offered to him; but hi 1 a less natural, unconscious attitude. Manet wta the accomplished man of the world, who, when he painted women, added a touch of gallantry to hi version of their charm. How far removed 1 this attitude from the passionate, tortured seeking of Van Gogh to put on canvas something; of hi eestatlo appreciation of the loveliness of the universe! With Van Gogh there 1 something of Cexanne'a disregard of subject matter "The Arleatenne," shown here and loaned from the Adolph Lewiaohn collection, 1 an example of Van Gogh's feeling for color, his decisive, original design and peculiar method of using hi medium.

The fact that it 1 a portrait of a woman 1 of minor Importance beside the fact that he saw her as an arresting design against a background of flaming yellow. The Renoir in the collection, "The Exit From the Conservatory," belong to the early period when Renoir painted scenes of contemporary life. The Manet la a portrait of a TPy woman, more Goyaesque In quality than 1 generally the ca In iplte of Manet's avowed dlsclpleshlp to the great Spaniard. TO STILL further Illustrate the point made above, that art for all Its pigeonholing remain a matter Of personalities, there are the widely different paintings by the leaders of the modern, movement, Picasso and .31 a It Gordon Craig's Woodcut At Brooklyn Museum i The print department of the Brooklyn Museum announces the nubile opening toduy of an exhibition of woodcuts by Gordun Urn Ik. the Kntfllsh engraver and slape designer.

To the general public Craig's name 'mmediutely sufrgestH the theater. As he sun of Dame Kllen Terry, environment nuiy have accounted orlg-'uully for thia fart, and the greater part of his work has been done in an effort to improve the standard of theater program and other publlca- lions and for his two mngazlnes, The Puge, which whs published between IMS nd 1mu, and The Mask, which began In Wig. Thefe tacts aside, however, the quality of' his designs tuts made for them their place In the world of the graphic rirts. The forthcoming exhibition at the Tirooklyn Museum presents more ihan 100 example of Craig's wood engravings. In the foreword to his book on woodcuts Crnitf himself writes: "To produce a play costs a great deal.

Hut there Is another reason than the cost which has prevented me from producing- for you at least 00 pis. vs. "If you had asked me to cut and engrave wood-blocks or etchings under some one's management. In Home one else's notice, I should have made no woodcuts or etchings at all. To me liberty is "When you will allow me the liberty of my own house to pro nee plays for you In a playhouse of my own' I will with pleasure produce 1 hem as practically as I have done these deMifTrt tha iw to say, by my own hand." The exhibition at the Museum will continue on view until March 1.

52000 INTERNATIONAL EXHIBITION Representing Co'intrie. At tha Brooklyn Museur i Assembled by the SOCIETE ANONYME Inc. Now At the ANDERSON GALLERIES Jan. 2Slh thru Feb. Sth Rsdio Talk by Kalherine S.

Dreier Jan. 24. at 4:30 P. M. over WEAF Recent Painting of Devonshire and Cornwall by W.

ELMER SCHOFIELD January 2i to February IS MILCH Galleries 108 Went 57th New York Allied Artists of America, Inc. 14TH ANNUAL EXHIBITION Painting and Sculpture JAM AltV '--'ll lo I i KV 1 II FINE ARTS BUILDING -MS VrT .17111 VTKKKT. X. 1. PAINTINGS IN TtMPERA BY FRANK S.

HERRT4ANN Cri(if January H'th BABCOCK GALLERIES 19 Eajt 49th N.w York at the Macbeth Galleries. Graphic Historians Of 19th Century France On Display at Kraushaar's Historians of the 19th Century. France. If they would vividly evoke the epoch, should supplement the text with drawings by those great graphic hlHlorlans, the cartoonists Daumer, Gavarni and Guys, and the later ones, Lautrec and Furuln. Teachers of history would do well If they insisted that their pupils study these drawings, which, appearing In the dally press, on 'billboards or as posters, so faithfully mirrored the events of the day.

The printed word Is pale and savorless betrido these racy, anecdotal drawings. The collection of drawings and lithographs by Daumler, Guys, Toulouse-Lautrec and Koraln, now on view at the Kraushaar Galleries, is a lesson in history by itself. No text Is necessary to tell us about the abuses and follies commited during the weak reign of Louis Philippe. Daumler's superb Invectives, which appeared as daily cartoons during the July monarchy, give the picture. Guys, following him, tells us of the vapid, superficial brilliancy of the Second Empire; Lautree's, the sophisticated cynicism of the 90's, while Foraln's cartoons and etchings bring us down to the present day.

Aside from the artistic ami historical interest which is attached to the works of these men, the present collection is important because it contains a group of Daumler lithographs, no other copies of which are known to exist, and because the Ixiutrec collection also contains lithographs not hitherto known to collectors. Lawson's Landscapes At Ferargil Galleries In the group of landscapes which Ernest Lawson Is now exhibiting at the FWargil Galleries he has returned to the typical Lawson manner and point of view which have endeared him to the discerning art lover these many years. The brief excursion Into painting landscapes with forced contrast and violent pat terns was evidently proved incompatible. The present group finds him again painting informal aspects of the countryside with the lovely, lacquerlike surface and subtle nuances of tone which form his special contribution to American landscape painting. The Halifax views are especially noteworthy.

Fields, houses, valleys and knolls have been seen as a mosaic of colored spots without losing a Jot of their reality. William Schidof A talented young painter, William Schulof, fresh from Taris, is holding his first one-man show at the Du-denslng Galleries at 45 W. 44lh st. Before his Paris days Mr. Schulof studied with Arthur Caries at the Pennsylvania Academy, and his Work still bears distinct traces of his master's distinctive teaching.

Which Is not to Intlmnte that the artist in question has not a strikingly Individ ual method of his own. Although ll Is obviously pure painting that he is after design, rhythm, color, etc. he nevertheless cannot escape from a natural gift foe His portraits will Insist upon being portraits, good likenesses no doubt' for all the emphasis he puts on the other considerations. The (lower still Hfes Included in the exhibition are de. llghtful for their subtlety of color and novelty of arrangement, a distinct contribution to our gallery of American flower pictures.

Modern Art Exhibit, Goes to Manhattan A section of the Inter national Exhibition of Modern Art recently shown under the uusplces of the Anonyme at the Brooklyn Museum Is to open at the Anderson Gal leries on Tuesday. The exhibition Is supplemented by a collection of wa tercolors and etchings not tuiowr. In Hronklvn At the close of Us New- York showing the International will. travel to HiilTalo' and The interest which the exhibition aroused was so great, 62.000 people attending it during the Brooklyn showing, that It was decided that a repetition in New York would still bring an tnteieeteil u'luience. C'HIMXKY KWEKPS GRKKTINU.

Paris, Jan. OP) Follow ing a custom many centuries old, New Year's greetings were brought to the denizens of the Hlesengebirge Mountains) of Silesia by the chimney-sweep. Garbed im his traditional Booty black suit and stovepipe hat, equipped with snowshoes and sticks, he made his way over ice and snow, visiting every mountain hamlet on the by-paths of civilization, and wishing them a lluppy New Year. Daniel Gallery Exhibition by KATHERINE SCHMIDT 600 Madison Ave. Tempora Paintings By Frank S.

Herrmann ti lr liar tm a oi'iftin or In the New York exhibition world, Is exhibiting ttiiinf fiiir in fpninnni nt the Bubcock Galleries, Mr. Herr mann's credo is stated in the fure- nuiu iti urn uuHiuKue tiiiti in mm- Htantiated by the pirtures which he are all essential to a work of art. nui. i oeueve ine wnrm neir ana the vision which It evokes are more Important, and so I use all thene qualities to expresw myself." Unquestionably Mr. Herrmnnn li a romantlciut, and thone landscapes, in wnicn mere is a numan or siory- best.

The majority of these have ufjt-n puimtm in rurope in picturesque or storied places, which lenl themselves to the romantic quality with which he invests his plcturej. He has not as yet found the romance of America, to Judge, from those pictures of furmhouses, tenements and New York street scenes which are Included In the exhibition. And consequently these are his least succeHsful expreasion. sort than the Old World variety, but undoubtedly Mr. 1-Ierrtiiann will find which he approaches his subject.

Art News and Notes An exhibition of sculpture by C. Paul Is now on view it the Grand Central Galleries. I'alnt-lnfs by Walt Kuhn are also shown In the sam pallerir-s. The New Art Circle announces an exhibition of recent paint Inns by A. F.

Levlnson and hammered brass plates by Marek Kchwarz. The Pennsylvania Armlcmy opens with a private view and recep-tion on Saturday evpning, Jan. The Allied Artlnts of America opened their 1 4 1 li annual exhibition at the Fine Art Galleries. 215 W. 67th yesterday afternoon.

The exhibition will remain on view IhrouKh Feb. 13. Henry Lee MeFeo's one-man show at the Kehn Galleries, which open tomorrow, is one of the hiuh spots of the art season. The exhibition will remain on view fur thr'-e w-eks and will be commented upon in these columns next Sunday. Special Exhibition Etchings BY BONE CAMERON McBEY BRISCOE DRIGGS KENNEDY CO.

693 Fifth Avenue, New York Between 54th and Streets HENRY McFEE At the Galleries of FRANK K.M.REHN 693 FIFTH Btt. 54th 55lk Sti. F. EDWIN CHURCH Paintings I nlll January TSIh MONTROSS GALLERY XI rjlKt Mrrrt. Mrw lurk In the curious qnaUty of his pattern and the ability he had of seeing natural objects aa shapes In a mosaic of color quite divested of their human association.

A sketch for "The Grand Jatte" Is included In the exhibition which illustrates this attitude. In this case It was the funny outlines which the tight bodice and bustle of the 7o's and 80's gave to ihe human figure which especially intrigued lilm. The, other Sturuts are landscapes, conventional In theme, but given a special quality by the method employed. All are framed in the painted frames which Seurat prepared for his canvases, and which cannot be said to in any way enhance the picture. They are more to be regarded Matisse.

Tha Matisse 1 a superb example of color pattern; the Picasso a figure (roup painted during his brief preoccupation with the classic formula. It 1 appropriate that It should be hung across the way from David'a eoldly correct portrait of Mme. De Sevran. It shows that the swing back of the pendulum never touches the Identical spot Whence It started. Picasso's classicism Is as far removed from that of David at David's was removed from that of Greece and Rome.

In each case It was shortlived because it was a borrowing of formula not expressive of either the painter or the time. Other Nineteenth Century masters Included In the room are Courbet, Delacroix, Corot and Gauguin. THE exhibition entitled "Fifty Tear of French Painting," at Knoedler'a, 1 a conservative but none the less delightful resume of thl eventful half century of art. If the title is, perhaps, a trifle ambitious. It Is, incidentally, the title which waa uaed for the highly successful exhibition Illustrating the development of French- painting during the last half century which occurred In Paris year before last.

The title 1 suggestive and euphonious and various exhibitions have since been arranged bearing a similar title. If in content they are not equally Illustrative of the half century. Tha collection at Knoedler'a shows each of the artists chosen to represent the period In a conservative, if at' the same time point of view. The exhibition will be popular, and the reactionary whose ire is groused every time modern art mentioned will doubtless find himself admiring a sensitive portrait of a little boy and a gofgeous flower still life, only to find upon looking them up In the catalogue that they are by those arch-modernlsta Deraln and Matisse. This Is, I believe, the debut of these two painters In the Knoedler exhibitions.

No more direct proof of the salablllty of modern art could be afforded than thla. Modern art has definitely become the fashion, and the house which supplies all things to all people, from VelasqUex to Ashton Knight, cannot afford to be out of the game. 4 SPECIAL mention must be made of the three Seurnts, lovely examples of this only recently appreciated artist's work. Beurat carried the as curiosities than discoveries, as he believed them to be, enhancing the rpeclul quality of the picture for which they were designed. Seurat's rise to popularity (to be Included In the present group means that) has occurred within last three years.

Before that time his sole American owner was John.Qulnn. The first Seurat exhibition held In this country occurred three years ago at the Brummer Galleries. But the recent purchase of "Le Grand Jatte'' for the Barnes Foundation and the acceptance by the Louvre of "The Circus," billed to it by John Quinn, have brought Seurat Into the limelight, and the most up-to-date of modern art collectors must have a Seurat now. Certainly the landscapes in the present exhibition will startle no one and are harmonious companion pieces to Monet's field of spring flowers and to Slsley's spring landscapes. Other painters Included 111 the collection nre Utrlllo, Marquet, Gauguin, Bonnard and Cezanne.

The collection sustains the tradition of Impressionism. All the painters Seem to be blood brothers and the sharp demarcation between Impressionism and Post-Impresslonlsm brought about by the development of Cezanne's theories does not seem to exist..