The Brooklyn Daily Eagle from Brooklyn, New York • Page 56

BROOKLYN DAILY EAGLE, NEW YORK, SUNDAY, MARCH 5, 1933 Whitney Museum's Cross-Section of American Art Qets Special Chicago Chapter, snowy the jae poipelet memorial exiiibitios at the BROOKLYN MUSEUM Chicago Artists Fine Arts Quild Announces Plans Rt HELEN READ Jane Poupelet Brooklyn Museum Holds Memorial Exhibition of the Work of France's Most Celebrated Woman Sculptor Drawings Also Included rE Brooklyn Museum has been the first American institution dedicated to the art to come forward with a memorial exhibition of the works of Jane Poupelet, the celebrated French sculptor who died last December. To be sure she was a French woman and it might be assumed that some institution dedicated to French interests should have been the first to make this gesture, but in view of the fact that she was as beloved by American art lovers as by her French public a The Grant Studios announces the organization of "The Fin Arts Guild" as a means of aiding artists of established merit. The Guild hopes to become a means of contact between its artist members and museums, galleries and other art institutions, and will hold exhibitions in New York and throughout the country, It also Artists of Windy City Attest a Vigorous and Unconventional Point of View in Exhibition Now on View at Whitney Museum True to its policy of presenting cross sections of American art in all its phases, periods and localities past and present, the Whitney Museum is showing a collection of paintings and prints by Chicago artists in the second and third floor galleries of the museum at 10 W. 8th St. The still prevalent idea that New York acts as a magnet attracting the more vivid and personale talents will be dispelled by the present group, which represents a diversity of vigorous and individual painters and print makers.

The fact that Western artists remain in their native habitat to a far greater extent than was formally the case, when New York was regarded as the art mecca of this country, is due in part to the extraordinary development of art schools and museums with their Inevitable corralary an increasingly art conscious public. It is no longer necessary to come East in order to study with the best instructors or to find inspiration in museum collections and gallery shows. Any one who has visited Chicago hopes to establish in exhibition a standard of art regardless of style, school or trend, thereby rebuilding the old and neglected spirit of the memorial exhibition in an American museum is entirely appropriate. As a matter of fact her first great success was in this country and her annual exhibitions at the Montross Galleries continued to widen tha circle of those who responded to the warm humanity and the essentia integrity of her work whkJh were its outstanding characteristics. The present Memorial Exhibition at the Brooklyn Museum include a representative showing of her sculpture of women and animals and large collection of her drawings.

The Metropolitan Museum, the Chlcag Art Institute and such private col- I European guilds which required "the finest workmanship, lines which spelled knowledge forms having style, composition with grace, harmony and unity, new and definite ideas." The organization, forming at this time, is significant, in view of the fact that many artists of merit are now barred from dignified showing of their works because of the expense of one-man show. Membership in the Guild is open to paint on Poupelet's work, Charles Kunstle quotes a phrase from Theophile Sil vester which describes her approach to her work and which account for lectors as Janet Scudder, who introduced her work to this country, Mr. Frank crownenshield, Mrs. William H. Vanderbilt and Mrs.

Stanford White have lent examples of 48" ers, sculptors ana graphic artists of recognized ability as shown by years its compelling vitality. "In regard to art, he who does not profoundly feel life, the movement and character ot 01 stuay, exnioitions and awards. her work to the exhibition. Few contemporary sculptors have the qualities that Tolstoi described and there is no discrimination on the basis of race, creed or social detract from the curious perverse vitality that it possesses. Fortunately the present inclusion is less insistently "uglified" than some of the other figure compositions shown in recent exhibitions.

Grant Wood, whose "Daughters of the Revolution" shown in the recent American exhibition at The Whitney, attracted considerable attention because of its mercilous arraignment of certain type of hard in recent years and has witnessed the change in its physical appearance from a dingy boom town, as described by a Dreiser or a Ben Hecht, to a shining, soaring modern city or at least so it appears to be to the visiting Easterner whether or not that is a Potemkin aspect or not I do not know. Any one who has visited the extraordinary fine collections of the Art Institute and recognized the alert and forward looking policy of its standing. Plans call for six exhibitions in New York during the com La Femmt a a toilett by Jana Poupelet. In the Galleries bitten American contributes a sim ilar theme entitled "American Gothic." nature, will always be blind," An4 to quote other excerpts from Mon sieur Kunstler's appreciation which sum up the qualities of her work with true Gallic felicity of phrase "There is no literature in her sculptures or in her drawings. No subject, rather the subject is life itself; il is nature she excels in Even when using the most humble of subjects, she confers upon them always; a nobility apparent in the great realists the Egyptians and the Greeks, who have left us images of such great style This style Poupelet draws from nature itself.

It is mysterious poetry that passes through the drawings and in all the bronzes with the ardor and sincerity of ingenuous love." Jane Poupelet's subjects, whether animals or human beings, were, in the majority of cases, taken from her traditional environment, a farm in the region of Perigord. She was born on a farm and, at the age ot as being essential to a great work of art, the ability to appeal to all classes and Intelligence and taste. Poupelet accomplished this to an unusual degree because she chose such elemental themes as women and animals and presented them without idealization or stylization or any effort to impress one with an appreciation of difficulties overcome in arrivnging at her serene realities. Like Renoir, to whom she has been compared; she presents her themes with a warm, healthy objectivity. Superb craftsman that she was, with the true sculptor's delight in plastic form, the final result is never an exercise in virtuosity, but a simple statement of an elemental truth.

Working in a period when the trend was away from a direct presentation of visual reality, when the artist felt that he must find new esthetic problems if he were to produce creative work, Poupelet held fast to her dom dull and stereotyped, their Imaginative director, Mrs. Alma Reed, can be counted on to provide the gallery frequenters with something piquant or unusual in gallery fare even if the extra fillip often derives from circumstances quite outside the work itself may provide. This week, for example, she is showing a collection of great flower motives strangely reminiscent of those painted by the famed Georgia O'Keefe. And it is therefore not entirely a surprise to discover that ing year, and branches of the Guild are now forming in St. Paul and Cleveland.

"Aims and ambitions. like ideals," according to Dr. da Cornell, executive director, "are difficult to put down in black and white, but in approaching our goal we build first for permanency and the "Fine Arts Guild" as a synonym of sincerity In presenting to the public worthwhile works of art." Temporary officers, in addition to Dr. de Cornell, include: President, Harry L. Tasky; vice president, Paul W.

Fuerstenberg; treasurer, Herman Trunk secretary, Betty Waldo Parish. The first exhibition of the new Guild will be held at the Gant Studios, 114 Remsen Brooklyn Heights, opening to the public March 7 and continuing through the 27th. Among those who are contributing are: K. Bonnmiller, M. do Corini, Paul Fuerstenberg, Alexander Geiss, Gil-berta D.

Goodwin, Bernard Howson, James Sanford Hulme, Kalman Oz-wald, Betty Waldo Parish, Mildred G. Rothe, John Stark, Harry L. fluent painting. A sunflower corn-characteristic rich tonality. Cats in All Mediums The Ferargil Galleries are also offering an exhibition to which special interest attaches over and above the quality of the work shown.

They are holding an exhibition of which the common denominator Is Cats. Cats in porcelain and bronze, painted, carved and etched cats, and drawn and woven (happily not quartered cats) are included. No cat lover can afford to miss this delightful exhibition. Cats, like women (and this carries with it no implication that the writer subscribes to the supposed temperamental affinity between them) have been a favorite and inexhaustible The prints and water colors, as is so frequently the case, affords an even more accurate interpretation of prevailing tendencies than do the paintings. They are more casual and anecdote reactions to the spirit of time and place.

They record conditions of time and place with greater accuracy. Francis Chapin, for example, in a series of vivid lithographs uses such typical themes as the stock yards and shopping districts for his subject matter. Aaron Bohrod and Gustav Dahlstrom also make effective use of local themes. David McCosh, William Schwartz and Honore Guil-beau contribute lithographs which if not so discriptive of their environment are nevertheless outstanding for personal point of view they express and for the effective use of the medium. Water colors by Charles A.

Aikens are on view in the small gallery of The Artists Gallery in the Towers Hotel. Brooklyn is especially fortunate to have so representative a group of Mr. Aikens' work as he will also hold a oneman show commencing Tuesday at the Fifteen Gallery in Manhattan. The pictures exhibit the same sincerity, and sensibility that characterize Mr. Aiken's work in any exhibition.

His work belongs to no special period, it exemplifies no fashion in style. Its style, for genuine style it unquestionably possesses, depends upon those two characteristics Just mentioned sincerity and sensibility. The last-named quality when transplanted into esthetic terms means taste. Simple flower arrangements and direct unaffected reactions to nature comprise the subject matter of the pictures included in the exhibition. The simplest arrangement, however, in the flower still lifes can provide Mr.

Aikens with lovely subtleties in direction will understand why the I artists ')! that vicinity are quite content to remain there. Another factor for effecting the Chicago artiste present contentment with his environment is the emphasis that has been placed in recent years on the importance of native tradition. In other words, that it is the artist who remains at home and paints the life that he knows the best from his own point of view and according to his own method of expression who produces the most effective and genuine work. It is the same point of view carried a step further that stopped the outflow of talent to Europe and that brought the American ex-patriot back to his lares and penates. Another prevalent misconception held by Easterners regarding Chi-cagoans' esthetic beliefs is their this similarity is not merely the result of admiring imitation but a family predilection, for the lady in question is O'Keefe's sister, Kather-ine O'Keefe Klenert.

There is still another sister who will have an exhibition later on in the season and I am told that she, too, exhibits the same mannerisms and subject preferences characteristic of her sister Georgia's more widely heralded work. Painting runs in the family, own conception of esthetic values. Today, when the abstractions and stylizations of the first decades of the 20th Century seem already old-fashioned and dated, her work continues to exert its serene, but compelling, appeal. In his monograph Taskey, Herman Trunk Caleb Winholtz, Joseph Wyckoff. theme of sculptors and draftsmen through the ages.

They provide the artist with the subject on which he three, had already evinced a desire to model, choosing the cows, donkeys and chickens for her models. In later life she spent much of her time on her farm and her women's figures are invariably elemental types such as are found among the French peasantry, and from which source so many of the great French sculptors have found their Inspirational material. In her remarkable drawings she frequently records a moment of action which submerges in a more universal or composite sense of the subject. It is interesting to remember that Jane Poupelet was a protege of Rodin, who not only criticized her work, but gave her the' entree to various art societies in Paris. She so Mrs.

Reed tells me, the mother ART CALENDAR Lloyd Goodrich's Booh On Eakins Is Published values and design. Especially noted anti grandmother painted meticul in this instance is a picture of calla ous flower still lifes which fore "Thomas Eakins, His Life and Works," by Lloyd Goodrich, published for the Whitney Museum of shadowed the clean-cut technique of the daughters. Catherine O'Keefe Klenert's flowers are more romantic than her sister's, the color is warmer but not so clean. In being romantic, how lilies arranged against a background of faded black silk. The folds of the stuff, the dark leaves barely seen against it and the sharp contrast of the white flowers combine to make an arrangement of unusual distinction and taste.

A picture somewhat out of Mr. American Art by the Studio Pub hangs his stylistic preferences, unchanging in form and character nevertheless any historic resume of cat subjects can serve as a history of artistic styles. The -present collection commences with the cats carved by the anonymous image-makers of Egypt, jumps a few thousand years to Staffordshire figurines and Victorian bronzes and continues with a large and imposing showing of what contemporary sculptors have to say on the subject. Included in the contemporary group are Hunt Diederich, Duncan Ferguson, Eugenie Shonnard, Paul Fiene and Enid Bell. Painters and black and white ar lications, will be reviewed in these ever, they are less symbolic than O'Keefe's, less suggestive of human AMERICAN ACADEMY OF ARTS AND LETTERS, Broadway between J55th and 156th Manhattan Paintings by Gari Melchers.

AN AMERICAN PLACE, 509 Madison Ave. Paintings by O'Keefe. ARCHITECTURAL LEAGUE, 115 E. 40th St. Work by Alumni of American School at Fontainbleau.

ARDEN GALLERY, 460 Park Ave. Steuben Glass, by Walter Teague. Caricatures of American artists. ART CENTER, 65 E. 57th St.

Exhibition of containers. ARTISTS' GALLERY, the Towers Hotel, Clark St. Water colors by Charles A. Aiken. Brooklyn scenes by Brooklyn painters.

Oils by Will Qulnlan. columns next Sunday. This is the first book on one of America's most distinguished artists to have appeared. It presents for the first Aikens' line is entitled A Busy uor- I emoti0ns and aspirations. But tech-ner," the corner being 57th St.

and nicaliy sne hQs the same point of 6th Ave. Although it may offer a view Sne isolates a flower form from the rest of the universe and time the full facts of Eakins' life, gives a complete catalogue of his exhibited for the first time at the Universal Exposition of 1900 and in 1906 had her first success in the annual Salon des Artiste Francais. The war interrupted her work and for more than three years she worked for the soldiers with mutilated faces, modeling the missing features from early photographs and casting the results in thin metal work and reproduces his most im supposed exaggerated respect for New York canons of taste on the grounds that because they culminate from a place and people longer versed in such matters they are necessarily more dependable than the preferences and ideas of a city which three generations ago was a stockade fort. But recently we are being asked to remember many things about Chicago's contribution to the cultural progress of this country, which should induce a humble attitude on the part of Eastern sophisticate and which considerably alter the assumption that creative ideas are best found in Eastern cities. We have been forcibly reminded at the Modern Museum of Chicago's priority in the very important matter of modern architecture and as we trace the development of our cultural history we must recognize the fact that the Chicago World's Fair of '93 established the first wide tists included in the exhibition are Foujlta, Agnes Tait, Harold Weston, John Stewart Curry, Louis Bouche, snarp contrast suoject matter its interpretation is similar to that found in other more tropical subjects.

Without any loss of reality Mr. Aikens has reduced his subject to order and serenity by seeing it as masses of building forming patterns of light and shadow on the street below. sees it as pure form and color, a design in itself without any dependence upon background or arrangement and yet not lossing thereby any of its essentially flowerlike quality. Specially noted in the group were "The Milkweed Pods," in which the flnfftr cillr hnrst.inc frnm thp nnds. ARGENT GALLERIES, 42 W.

57th St. Members annual exhibition. JOHN BECKER GALLERIES, 520 Madison Ave. Paintings by Eliza portant pictures. Those who are familiar with Mr.

Goodrich's penetrating studies of American artists which have appeared in The Arts and in The American Artists Series and painted to simulate flesh. Short will recognize his special aptitude for the preparation of this monu metal work, which in being the his Katharine O'Keefe Klenert has given her an opportunity for Peggy Bacon, Lucille Blanche and Wanda Gag. An exhibition of the work of Robert L. Leonard is no view in the Intimate Gallery of Pratt Institute. The exhibition consists of a collection of free crayon drawings in the original and as they are reproduced in current magazines.

The object is to show how fine art may be applied to advertising and other commercial uses. Mr. Leonard believes tory of a great man becomes as Exhibits FloiCeT Forms position and one of cowslips have wen a uisiuiy xik win." he lived. Delphic Studio exhibitions are sel- greater precision without lass of her ly after the war she modeled the superb seated figure of a woman entitled "Femme a sa Toilette," owned by the Luxembourg and Metropolitan and which is probably her finest figure composition. But the group of small female figures shown at the Montross Galleries last season were evidence of a creative urge that showed no signs of abating or repeating past successes.

The exhibition at the Brooklyn Museum, quite aside from its function of honoring the memory of the foremost woman sculptor of this century, is also significant in that it allows the art lover who has only AMERICAN GOTHIC beth Blair. BROOKLYN MUSEUM, Eastern Parkway Water color Biennial, Friedsam collection Philadelphia printmakers. Jane Poupelet memorial 43d exhibition of the Department of photoplay opening Tuesday. BRUMMER GALLERIES, 55 E. 57th St.

Sculpture by Maillol. CONTEMPORARY ART8, 41 W. 54th St. Paintings by Burgoyne Diller. DOWNTOWN GALLERY, 113 W.

13th St. Sculpture by Nakian. DELPHIC STUDIOS, 9 E. 57th St. Paintings by Catherine Kleinert.

DURAND RUEL GALLERIES, 12 E. 57th St. Paintings by Derain. EHRICH GALLERIES, 36 E. 57th St.

Paintings by old masters. EIGHTH STREET GALLERY, 61 W. 8th St. Paintings by Merk Datz. FRENCH INSTITUTE, 22 E.

60th St. Bourdelle Memorial Exhibition. FERARGIL GALLERIES, 37 W. 57th St. Exhibition of cats in all mediums.

that fine drawings and paintings should be used to sell commercial products, just 'as classic music Is spread interest in art. Facts which played on radio advertising pro Chicagoans are by no means un mindful of. grams. The present exhibition at the Saul Baizerman, a Russian-born Whitney Museum is proof of the known her work in the installments continuation of the vitality ana in ltiative evinced by these historic citizen who worked on the docks and in factories in New York while studying in night school, will hold a one-man exhibition of sculpture milestones in American cultural history. To quote from Mrs.

Juliana Force's foreword to the catalogue, "Throughout all the apparent di' FIFTEEN GALLERY, 37 W. 57th St. Watercolors by Charles A. Aiken. GRAND CENTRAL ART GALLERIES, 15 Vanderbilt Ave.

Retrospective exhibition of sculpture by Brenda Putnam, GRANT STUDIOS, 114 Remsen St. Decorative panels by Charles M. verslties of the work produced in this mid-Western environment we feel that an underlying consistency at the Eighth Street Gallery, 61 W. 8th St. The work of Miss Olive Frances Rhinelander, who is known in Europe as well as in this country as scribe and illuminator, is being exhibited this month at Pratt Institute.

This ancient art was at its height during medieval times. Miss Rhlnelander's work includes, besides the lettering and illumination of manuscripts, wall painting and em Shean. Group show of drawings and lithographs. MARIE HARRIMAN GALLERY, 61 E. 57th St.

Paintings by French moderns. FREDERICK KEPPEL St 16 E. 57th St. Prints by Andrew Butler. FINE ARTS BUILDING, 215 W.

57th St. Annual Architectural League "i exnimtions to get the fufl flavor of her quality. Due to the fact that the 17th annual exhibition of the Society of Independent Artists will be held a week later than last year, the time for Joining has been extended until March 20. The 17th annual exhibition will be held in the Grand Central Pal- Clty' tr April until April 30. The dues are $9 and members may exhibit original paintings, three in number, provided none is over 28 inches in width or height, including the frame.

Two pictures may be exhibited by each member, provided neither is over 50 Inches and one picture only in case the measurements exceed 50 Inches. Sculptors may exhibit four pieces of sculpture and must furnish pedestals or bases for their work. Memberships should be sent to A. S. Baylinson.

54 West 74th New York City. Exhibition. HOWARD YOUNG GALLERIES, 677 5th Ave. Seventeenth century may be traced in the quite general robustness of approach and the refreshing unconventionality in the choice and treatment of subject material." It should be added that no small part of the vitality and diversity which distinguishes the exhibition is due to the fact that it represents a personal selection on the part of Mrs. Force.

This is no hastily or conventionally assembled exhibition In which lists of names included in fTi.iier rxnibitions serve as a basis of selection. In the majority of cases Mrs. Force visited the studios and made her own selection from the material shown her by the artist himself. The exhibition la a brief for the quality that results ut -A it if li i broidery. She has designed and embroidered two banners and a pall for the Cathedral of St.

John the Divine. Miss Belle de Costa Greene of the Plerpont Morgan Library says: "Aside from the importance of her own work as scribe and illuminator, Miss Rhinelander, through her intensive study and research in ancient and medieval illuminated manuscripts, has become one of the very few authorities in this country on the technique of illuminationin gold, particularly. And she is the only artist, to my knowledge, who has been successful In when an exhibition represent a personal choice. It also goes to prove, if the recent American show Dutch paintings. JOHN LEVY GALLERY, 1 E.

57th St. Still lifes by Lawrence Biddle. JULIEN LEVY GALLERY, 602 Madison Ave. Drawings by Pavel Tchelltchew. KNOEDLER St 14 E.

57th St. Paintings by Adele Herter. Prints by Durer and Schongaver. KRAUSHAAR GALLERY, 680 5th Ave. Paintings by Americans.

MACBETH GALLERIES, 15 E. 57th St. Paintings by American artists. MARIE STERNER GALLERY, 9 E. 57th St.

Flowers by Hlldegard Woodward. MIDTOWN GALLERIES, 559 5th Ave. Paintings by Homer Bons. MILCH GALLERIES, 108 W. 57th St.

Watercolors by Americans. MONTROSS GALLERIES Paintings by William L'Engle. METROPOLITAN MUSEUM, 5th Ave. at 83d St. Recent accessions.

MUSEUM OF MODERN ART, 11 W. 53d by Maurice Sterne. Photographs illustrating the beginnings of modern American architecture. Lautrec lithographs. NATIONAL ARTS CLUB, 15 Oramercy Park Exhibition by Junior members.

NEW HOUSBJ GALLERIES, 578 Madison Ave. Paintings by William Merrltt Chase. NEW 8CHOOL, 66 W. 12th St. Drawings by a group of contemporary artists.

PRATT INSTITUTE, Ryerson St. Illuminated manuscript by Olive Rhinelander. FIFTEEN GALLERY 37 Wpm Y. Pmnlinfiit hv CHAS. A.

AIKEN Marrh Intl. re-creating Tyrian purple. Her work Is superior to any known to me today." An exhibit of Rollln Klrhy's cartoons has been put on display in will be remembered in which the artists were represented by their own selections, that the artist is not always the best Judge of what Is his best work. The present collection demonstrates that although Chicago artists are entirely familiar with the latest fashions in art they are not unduly influenced thereby. The surrealist tendency is only perfuno- I I 1 Six.

RETROSPECTIVE EXHIBITION CHARLIS P. GRUPPE Oulth 4 airla Lindutm Mrlm Carnegie Hull Art Gallery 1B1 WEST H7TH STREET the Cartoon Room at 71 Irving Place. Mrs. Norman Thomas plans to have the work of different cartoonists appear every three or four weeks. Cllve Weed, Art Young, Wortman and others to be announced, will offer their cartoons to the exhibit.

"Flattery," a gold bronze figurine by Miss Cornelia Van A. Chapin, 88 W. 57th was stolen last week from the Winter art exhibition of the American Woman's Association tn the A. W. A.

Clubhouse. 353 W. 57th St. The figure Is 19 inches high, weighs between 12 and 15 pounds and is mounted on an un torily recorded and the Americana theme given a less self-conscious treatment than is the case with many Eastern exponent of American themes for American pictures. Artists who have given the Americana theme an Interesting interpretation are Edgar Britton, Francis Foy, Donald McCosh, Donald Nundt, Increase Robinson and Emile Jacques Orumieaux.

Ivan Le Lorraine Albright adds his curious personal note to the exhibition in a full-lenvth portrait of a worker entitled 'The Line Man." It Is difficult to appraise Mr. Albright's work. The Insistence on sheer ugliness which characterize it, Its dirty monochromatic tone does sot J' REHN GALLERIES, 683 5th Ave. Paintings by Henry Mattson. REINHARDT GALLERIES, 730 5th Ave.

Portraits by Bernard Llntott, VALENTINE GALLERY, 69 S. 57th St. Paintings by Raphael Soyer. WHITNEY MUSEUM OF AMERICAN ART, 10 W. 18th murals.

Chicago artists. WEYHB GALLERY. Lexington Ave. Sculpture by Marion Walton CONTEMPORARY AMERICANS KRAUSHAAR GALLERIEJ e-0 FIFTH AVENUE UNTIL APRIL FIRST varnished hand-made woodon base. ft represents a young girl looking up, her right foot forward, her arms behind her back with the handa cupped.

By Grant Wood, ihoun in th exhibition of teo rh by Chicago artitti at iht Whit" ay Muteum,.