November 1948

75 cents

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November 5 to November 27

JACQUES SELIGMANN & CO., Inc. 5 East 57th Street New York

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30 EAST 57th STREET - NEW YORK 22, N. Y. Public Auction Sales of Art and Literary Property


Sale November iS at § p.m. Sa le December 1 and 2ats p.m. ITALIAN RENAISSANCE IMPORTANT MASTERPIECES



From the Collection of | The Distinguished Collection

Formed by the Late RARON AND BARONESS


From Their Castle near Bratislava Sold by Order of the Present Owner

Italian Renaissance works including paintings by Joseph H. Seaman, Jr.

Ghirlandajo; a follower of Masolino; and of the

Florentine XIV Century School; the Paduan Fine examples of the works of DUrer, outstand- School of the late XV century. Also an Arago- ing subjects by Rembrandt including the famous nese painting by Espalargucs. Hundred Guilder Print from the Mary J. Morgan

collection and a group of his portrait studies; also etched portraits by Van Dyck; important Whis- tler etchings and lithographs including the rare Weary and Finette and fine Venetian subjects.

Dutch and Flemish XVII century works by Jan Steen, van Ostade, Molenaer, Sorgh, Codde, van Reymerswaele, Pieter Breughel the Younger, Moreelse, van Ceulen and Verspronck. Still life

paintings by Weenix, de Heem, van Aelst and | Also works by Bone, Cameron, McBey, Meryon, examples from various other schools. | Buhot, Zorn and other artists.

Illustrated Catalogue 50¢ | Illustrated Catalogue $1.00 ON EXHIBITION FROM NOVEMBER 13 | ON EXHIBITION FROM NOVEMBER 18

HIRAM H. PARKE, President ARTHUR SWANN and LESLIE A. HYAM, Vice Presidents

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Cover: Painted at the height of Hals’ career when the fifty-eight-vyear-old master of Haarlem was werking on such famous paintings as Malle Babbe is this refined Portrait of a Lady in a Ruff, signed and dated 1638 (27% by 21%% inches). Just acquired by the Cleveland Museum (A.N., Sept. 48), it epitomizes the sturdy objec- tivity and dazzling technique of this contemporary of Rembrandt who chose to paint life as he saw it with an unsurpassed perfection of means. Formerly in Baron Alphonse de Rothschild’s collection, the portrait is on public show for the first time since 1873 (see page 28).

Editor and Publisher: Alfred M. Frankfurter Managing Editor: Thomas B. Hess

Associate Editors: Renée Arb, Henry A. La Farge

Editorial Associates: Robert Beverly Hale, Elaine de Kooning,

Priscilla MacKenzie, Stuart Preston Typographical-design Consultant: Bradbury Thompson Circulation Manager: Lewis W. Solomon

Advertising Manager: Robert S. Frankel

Production Manager: R. V. Nagle

Published monthly September through May,

quarterly June-July-August, by The Art Founda-

tion, Inc., a non-profit membership corporation,

136 East Fifty-seventh St., New York 22, N. Y.

Board of Trustees: Thomas J. Watson, Chairman;

Mrs. J. Philip Benkard; Walter W. S. Cook, Secretary-Treasurer; Belle da Costa Greene; Mrs. David M. Levy;

Charles Rufus Morey; Mrs. William Rosenwald;

Maurice Wertheim. President: Alfred M. Frankfurter.

Subscription Rates: Full subscription, consisting of the ten monthly issues and ART NEWS ANNUAL, $10. per year in U.S.A. The regular monthly edition only (without the ANNUAL) $7. per year in U.S.A. (Canadian and foreign postage, $1. per year additional for each sub- scription.) Single copies of the Regular Monthly Edition, 75¢ each. Single copies of ART NEWS ANNUAL, $5. each.

The Editor welcomes and is glad to consider mss and photographs sent with a view to publication. When unsuitable for publication, and if accompanied by return postage, every care will be exercised toward their return, although no responsibility for their safety is undertaken. Under no circumstances will the custody of any objects of art what- ever be accepted if sent to the magazine unsolicited for inspection. No opinions on authorship, authenticity, or valuation can be given, nor can the mdgazine act as intermediary or advisor in sales.

The complete contents of each issue of ARTNews are indexed in THE ART INDEX, published quarterly and available for consultation in pub- lic libraries and in museums.

The name, cover, colorplate, and entire contents of ARTNews are fully protected by copyright in the U. S. A. and in foreign countries and may not be reproduced in any manner without written consent.

Entered as second-class matter February 5, 1909, and re-entered June 17, 1948 at the Post Office at New York, N.Y. under the Act of March 3, 1879.

Volume XLVI Number7 November 1948


Reg. U.S. Pat. Off. Copyright 1948 The Art Foundation, Inc.


14 The Carnegie likes the real thing by Thomas B. Hess 17 Dutech-East bazaar

18 Spotlight on: Sutherland, Kuhn, Wyeth, Osver 20 Faces of the U.S. Navy

21 The U.S. faces the sea by John I. H. Baur

24 Treasury from Devon by Alfred M. Frankfurter 27 Portraits from an inventor

28 Trinity of masterpieces for Cleveland

31 Cézanne’s theories about art by John Rewald 37 Producer-patron in Mexico

39 Vuillard’s youthful genius

10 Seven Frenchmen young and old

12 Paris headlines this month

Feature illustrations

14 14 17 29 30 32 35 36 39 43

Honoré Sharrer: The Public School Scene

Bradley Walker Tomlin: Battle Anthem

Leti carving: Ancestor Image

Pedro Nicolau-de-Albentosa: Coronation of the Virgin, colorplate Cézanne: Self-Portrait, colorplate

Maurice Denis: Sketch of Cézanne

Cézanne: Madame Cézanne in a Yellow Chair, colorplate

Renoir: The Loge, colorplate

Vuillard: Woman Sweeping

Lorjou: Hunt for Beasts





10 13 14 47 50 52 61 61 61

Editor's letters

Art news of America

Coming auctions


The print collector by Irvin Haas Vernissage

Reviews and previews

Our box score of the critics

This month in California by Alice M. Goudy This month in New England by Sydney J. Freedberg Competitions and scholarships

Where and when to exhibit

The exhibition calendar

This month’s authors

John I. H. Baur, one of the most brilliant and indefatigable searchers in the arts of nineteenth-century America, is largely responsible for the re- discovery of such reputations as Mount, Quidor and Robinson. Curator of paintings at the Brooklyn Museum, he has organized the exhibition of American marine painting there, rediscovering such remarkable figures as .. John Rewald is one of the best-known authori- ties on late nineteenth-century French painting. In the seven years since his first article in America appeared in ARTNews, he

Suydam and Hamilton .

Next month

Van Gogh festival at Cleveland, with two colorplates . .

from the Pompeian treasures the Louvre will lend to Smith College . . .

valuation of one of the most underestimated nineteenth-century masters, Courbet, with colorplate . . . the distinguished English critic, William Gaunt, discusses the great collection of watercolors lent to the Boston Museum.

has published many books, the last one in connection with the big Bonnard show last spring.

. Spectacular details

'ditor’s letters









Believing as I do that there are only two kinds of art, Good Art and Bad Art, I was intensely interested in your report of the new arrange- ment of paintings at the Metropoli- tan Museum (A.N., Vernissage, Sept. 48). Could it be true at last? It is true, and the result is utterly stimu- lating: just the pleasant shock of seeing a Copley hung between an El Greco and a Rubens is well worth going to see. It seemed to me that the Manet, the Degas and_ the Cézanne were straining every muscle to keep pace with the company, which leads me to wonder whether our contemporary artists might not better if they could imagine their work fated to

paint just a_ little

hang in ahe same gallery with a Fra Carnevale or a Poussin.

The Metropolitan has given me one of the greatest pleasures | have had in some time. That the El Greco Vativity and Toledo might have a sanctuary to themselves in the same manner as the two Lehmbruck fig- ures enjoy at the Museum of Modern Art is only a wish as personal as is the conviction that El Greco is probably the only painter who ever really painted since the world began, anyhow.

Yours, ete. Lots Orswett DAILey Narragansett, R. I.


In connection with an extensive study 1 am making for publication of the trecento painter, Barnaba da Mo- dena, I should appreciate learning the name and address of the present owner of this Madonna by Barnaba.

The picture, 12% by 8% inches, was in the Paolini sale at the American Art Galleries, New York, December 11 and 12, 1924, as number ninety- seven. My address is: Curator, The John Herroa Art Institute, Pennsyl- vania and Sixteenth Streets, Indian- apolis 2, Indiana.

Yours, etc.

Rorert O. Park

Indianapolis, Ind.


1 am cancelling my subscription—or rather, | am not renewing it—solely because I do not approve of Mr. Frankfurter’s use of the magazine as a vehicle for airing his rather narrow political views. I found his editorial some months ago about the Berlin pictures particularly distasteful. My

husband was overseas for over two years. Perhaps if Mr. Frankfurter had had that experience, he would not be so glib about the good Ger- mans and the terrible Russians. In any case, his private opinions should be kept private.

Yours, etc.


New York, N. Y.


In the September 1948 ARTNeEws, in the article “Prizes and purchases in four annuals,” there is a brief com- ment on one of my paintings, The Wealth of Nations: “.. . a depiction of starving children in Europe eating American-sent food.”

As creator of the painting, I wish to correct the erroneous interpreta- tion given. The subject was started and completed in Willow Run, Mich. The subject matter was suggested by the abundance of Southern white children living about us in the vil- lage. In the summer these children went barefoot and in the winter they wore no ccats on the coldest of win iry davs. In my close association with these families, | could not get over the apparent disparity between the “automobile culture” of Detroit and the environment that had _ pro- duced such backward Americans.

The title, The Wealth of Nations, attempts to bring out the paradox of a laissez-faire economy that produces modern automobiles and backward children. The two children depicted used to deliver eggs and chickens to my home when they should have been in school. The older girl, at ten years of age, could not count change.

Yours, etc. SHOSHANNAH, Chicago, Il.

ae: ARTNEws you reproduced in full color the col-

In the October issue of

lage composition of Picasso, La Suze. This work does not belong to the St. Louis City Art Museum, as you quoted it, but is one of the honored possessions, obtained by Dr. H. W. Janson, for the collection of Wash- ington University, St. Louis.

Yours, etc.


Washington University

St. Louis, Mo.

Sir: I am puzzled and dismayed. Taste, I admit, is a most peculiar thing, and we all have our blind-spots and our penchants. ARTNews, obviously, has exquisite taste, most of the time. It takes discrimination as well as cour- age to publish ten more pages on Rembrandt, and also to prove there- by that Charles Laughton has not done him to death and that the mas- ter even survived Van Loon. For all that, congratulations. But how can you devote three pages to that in- sipid neo-neo-neo-classicist Elie Na- delman. Is it just to make the other things look better by contrast?

Yours, etc.

Henry V. G. Lion

Philadelphia, Pa.


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Art news of Americ:

Chicago prize watercolors

The eight painters who won $2,400 in prizes in the Chicago Art Insti- tute’s fiftv-ninth annual of water- colors and drawings have just been disclosed.

Three hundred and twelve works as well as three one man shows for Graves, Feininger and a group of six Boston artists—Kahlil Gibran, Juliet Kepes, Kupferman, Levine and Zerbe

were judged by painters Edmund Lewandowski and Cady Wells, and Andrew Ritchie, director of Buffalo's \lbright Gallery. The Blair prizes of

Kress gift for Allentown

To launch the fund-raising campaign for their new half-million-dollar mu- seum, the citizens of Allentown, Pa., and its neighbor, Bethlehem, have lent their paintings to a big loan show of works ranging from Tinto- retto to Picasso. Besides its present collection, acquired in the past fif- teen years, the new museum will house in a special wing twenty-seven paintings, valued at $750,000, which have been given from the Samuel H. Kress Collection. Transformed into a well-lighted gallery, a private office building owned by Jerome I. Rodale,

People in the art news

Miss Belle da Costa Greene will retire from her post as head of the Pierpont Morgan Library on Decem- ber 1. She has been director since 1924 and will be succeeded by Fred- erick B. Adams, Jr. of the Air Redue- tion Company, Inc., and _ president of the Grolier Club (see page 13). Leslie Cheek, Jr., founder and former head of the fine arts. depart- ment of William and Mary College, and director of the Baltimore Mu-

Queens plans its museum

Queens, N. Y., may soon have its own museum, according to a recent an- nouncement made by Supreme Court Justice Charles S. Golden, chairman of the Queens Golden Anniversary Committee. Dr. Persia Campbell, As- sistant Professor of Economics at Queens College, heads the committee which plans to apply to the State


Carroll Carstairs, well known fo1 the impeccable taste which guided his art gallery, died recently at the age of fifty-nine. A son of the late Charles S. Carstairs, he started busi- ness after the first World War with his father, as a partner of M. Knoed- ler and Co. In 1934, he opened his own gallery and gained a unique reputation in New York as a critic and connoisseur of Impressionism.

Mrs. Elizabeth Sage Hare of New York, a founder of the Colorado Springs Fine Arts Center and, with

Juliana Force, one of the most im-


$600 and $400, awarded by the In- stitute’s own committee on painting and sculpture, went, respectively, to Ivan Albright’s Roaring Fork and Mor- ris Graves’ In the Air. Jacob Lawrence received $500 for his Migration: Stuart Davis $300 for Ana; Gardner Cox $250 for Basic Forms; Robert Blair $150 for his Moths and Flame, and prizes of $100 went to Karl Priebe’s Lady with Bird and Nicola Ziroli’s Man with Razor. The exhibi- tion will be reviewed in the Decem- ber issue of ARTNeEws.

Allentown publisher, is host to the present showing which includes sev- eral paintings from the Kress bequest

Luini’s WVadonna and Child, Lotto’s St. Jerome and Tintoretto’s The Warrior—as well as a Fragonard from the Metropolitan Museum; Pi- casso’s Head and Benton’s Homestead from the Museum of Modern Art; works by Gainsborough, Goya and Hobbema lent by Eugene Grace, head of Bethlehem Steel; a Rem- brandt self-portrait from Mr. and Mrs. Marshall D. Jones, and a lo-

cally-owned ( ‘opley Y

seum until 1942 when he joined the Army Corps of Engineers, is the new director of the Virginia Museum of Fine Arts.

Thomas C. Colt, Jr., former direc- tor of the Virginia Museum of Fine Arts in Richmond, has just been made director of the Portland (Ore.) Art Museum.

Carl Holty has been appointed vis- iting research artist at the University of Georgia for the coming year.

Board of Regents for a charter for a Queens Museum Association to raise funds for the project. The mu- seum would not be designed to com- pete with such venerable institutions as the Metropolitan Museum in Man- hattan but would be a “living art museum,” as well as a cultural cen- ter for the borough.

portant women patrons of American art, died recently at the age of sev- enty. Among the painters whose ca- reers she furthered were Preston Dickinson and Arthur B. Davies.

Joseph Lauber of New York who achieved distinction as a designer of stained glass windows, a_ painter, sculptor, etcher, illustrator and edu- cator, died at the age of ninety-three. Benjamin H. Stone, Secretary of the Worcester Museum from its in- ception in 1898 and one of the four original members of the staff, died recently at the age of seventy-three.




CANVAS: 43% x 34% inches

Included in the


Lent by


In Aid of The Friends of

The Fitzwilliam Museum, Cambridge



Telegrams Resemble, London

Telephone REGent 3042

Pi te te



Public Cuction Sale

December g at § p.m.


By Famous Contemporary Artists

Second Sale of a Collection Formed by


Outstanding examples by Braque, Chagall, Klee, Kollwitz, Matisse, Joan Miro, Maillol, Edvard Munch, Picasso, Rouault and Villon; also prints by Renoir, Bonnard and Cezanne, many of great rarity.

Illustrated Catalogue 25¢ ON EXHIBITION FROM DECEMBER 3

4 ; ¢ a t C4 ¢ t t r ¢ ¢ M ¢ M4 ¢ ¢ MY i ¢ i tf ¢ C4 4 4 i ¢ ¢ t 4 t M4 ( 4 i M4 M4 4 ¢ ¢ t ¢ M4 iG 4 M4 4 ¢ ¢ MY ; 4 4 t





Compiled by A. C. R. CARTER

A concise epitome of all matters relating to the arts of Painting, Sculpture, Engraving and Architecture, and to Schools of Design.

This unique volume contains 88 beautiful illustrations and one magnificent plate in

full colour by WILLIAM BARRAUD.

Demy Quarto—Printed throughout on superb art paper £3-3-0


Largest of Book Publishers


Coming auctions

De Dioszegh: old masters

An important sale of old masters, Renaissance Italian, Dutch and Flem- ish seventeenth-century paintings, owned by Baron Raoul Kuffner de Dioszegh and removed from the Cha- teau de Dioszegh near Bratislava, will take place at Parke-Bernet on November 18 after exhibition from November 13. Italian works include a Nativity given to Domenico Ghirl- andaio, a late fifteenth-century Pa- duan portrait and a fourteenth-cen- tury Florentine Crucifixion. The Spanish schools are represented by a Madonna and Child, attributed to the Aragonese painter Pedro Espa- largucs, and a_ seventeenth-century Andalusian portrait of a saint. In the large Dutch and Flemish group are works given to Jan Steen, Van Os- tade, Molenaer, Van Scorel, and Pieter Brueghel the Younger.

Hirshborn-Barbee sale Modern paintings, drawings and sculptures owned by Joseph H. Hirshborn and Stanley N. Barbee will be auctioned on November 10 after public exhibition from Novem- ber 6, at Parke-Bernet. Included are works by such varied artists as Re- noir, Degas, Monet, Chagall, Ceé- zanne, Gris, Utrillo, Picasso, Redon, Toulouse-Lautrec, Rouault, Masson and Matisse. Conservative earlier works are by Monticelli and

nineteenth-century Boudin, Daubigny.


Books, jewels, furniture

A number of miscellaneous sales will take place at Parke-Bernet this month: The library of Mrs. G. J. Guthrie Nicholson, which includes documents by various presidents written at the White House and Persian manuscript will be sold on November 8 and 9 after current exhibition. French and English furniture and paintings owned by Mr. and Mrs. Leslie R. Samuels will come under the hammer on November 13 after showing from November 6. Among

a rare eighteenth-century

the decorative objects are Chinese porcelains, English china and Geor- gian silver. Americana belonging to the Rev. Anson Phelps Stokes will be offered on November 15 and 16 after being shown from November 11. Also on exhibition from that date will be diamonds and precious stones owned by the late Elizabeth E. W. Adams which will be sold on November 16, 17 and 18. The sale of November 19 and 20 will be devoted to eighteenth-century French furniture and decorations collected by R. Rabanit des Vans, to be ex- hibited from November 13. Chinese and Japanese art, the property of the late Annie R. Bird, Porter T. Hall and others will be the offering for November 23 and 24 after pub- lic exhibition from November 20. On November 26 a large group of Classical, Near Eastern and Renais- sance antiquities is to be sold fol- lowing exhibition from November 20. Included are Egyptian antiqui- ties, and Roman and Alexandrian bronzes, Gothic and Roman sculp- tures. Two sales of English and Am-

erican furniture and decorations come at the end of the month. One, on ex- hibition from November 20 before being sold on November 27, com- prises the property of the late Mr. & Mrs. Harry Koopman, and the other, specializing in old English clocks and Georgian furniture col- lected by the late Henry P. Strause of Washington, D.C., will be held on December 3 and 4 after being exhibited from November 27. Seaman sale: graphics Masterpieces of etching and engrav- ing collected by the late Joseph H. Seaman will be auctioned off on December 1 and 2 after being shown from November 19. These in- clude twelve fine examples by Diirer; about thirty Rembrandts, including the famous Hundred Guilder Print and a superb impression of The Three Trees; five etched portraits by Van Dyck, and about sixty of Whistler’s best known graphic works.

Valentin sale: moderns Important modern graphic work, the second part of a collection of litho- graphs and etchings formed by Curt Valentin, will be sold on December 8 after public exhibition from De- cember 3. Outstanding masters rep- resented are Braque, Picasso, Chag- all, Klee, Lipchitz, Matisse, Miréd, Munch and Villon. Rouault is seen in several unknown work proofs of Viserere et Guerre.

Bishop sale: books

One of the finest collections of French books ever formed in_ this country, the library of the late Cort- landt F. Bishop, will be sold at the Kende Galleries on December 7 and 8 after being publicly exhibited from December 1. Forty years of discriminating buying in Paris sales- rooms built up this group of illus- trated books, well known to scholars and collectors. Outstanding among the rare items are Aesop’s Fables, printed in Basle, 1501; a Herodotus, Paris, 1556, bound in green Morocco by the “Grand Doreur de Henri II”; a Pliny printed in Basle in 1545, and six volumes of Moliére, bound in Paris, 1734, which contain his auto- graph and five original sanguine drawings by Boucher.

Italian Renaissance Warrior in De Dioszegh sale; Parke-Bernet.



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Art in the Early Church

By Walter Lowrie. Pantheon Books, New York. $6.50.

For the past fifty years, controversy has raged around the sources of

Christian art. The “Orientalists” claim to have found them in Alex- andria and Antioch. Dr. Lowrie heads the opposing forces who trace the sources to the ferms and con- ventions of late Classical art and place them fairly and squarely in the Roman catacombs. An eminent theologian as well as a close stu- dent of Kierkegaard, Dr. Lowrie has devoted half a century to the study of Christian archaeology. In this latest volume, whose text is supplemented by a select bibliog- raphy, a chronological table and over five hundred illustrations in black and white, he presents the conclusions of a lifetime. These are principally found in the prefatory chapter and in the introduction in which he sets out to make short work of the scholars who disagree with him. After linking Christian art to the popular descriptive art of the Romans, Dr. Lowrie states his other main point when he condemns those who approach such religious art without any idea of what must have been the impact of a spiritual belief on the secular Roman world. He next deals, in the manner of an infinitely expanded Baedeker, with the principal monuments of Chris- tian art—sepulchral art; the Roman churches; the mosaics at Ravenna; the Vienna Genesis; even civil and ecclesiastical dress, all are illumi- nated by his zealous interpretations. Subject matter is attached to dog- ma; symbolism is explained in the words of the Fathers. Dr. Lowrie’s industry is impressive, and the vol- ume may be a classic of its kind.

The Flemish Primitives By Leo van Puyvelde. Continental Book Center, New York. $16.50. Another handsome picture book from abroad—here are 151 plates in monochrome and in color which reproduce paintings of the first great age of Flemish 1430-1530, that wonderful which begins with the brothers Van Eyck and ends with the Italianizing of Bernard van Orley. The word “primitives” in the title might be misleading, for such artists as Van Der Weyden, Dirk Bouts, Memling and Metsys were in full command of their craft and had no direct following. All the great men are represented here with the inexplicable exception of Bosch. Why omit this great painter and powerful fantasist when such a comparatively feeble artist as Juan

painting, circa century

de Flandes, who hardly counts as a Fleming at all, is included? But as the principal value of the book is in its plates, it is best to examine them first. The black - and - white ones are both sharp and accurate and show details of astonishing beauty. But the color reproductions are, by any standards, calumnious —not only failing to demonstrate what a delicate and original colorist


such a painter as Memling was, but also, because distorting the colors means altering the tone con- trasts, giving a totally false idea of the pictures.

Connecticut Meetinghouses

By J. Frederick Kelly. Columbia University Press, New York. $40. In these handsome volumes, an ar- chitectural historian’s dream comes true. Here, measured, described and photographed is every existing church edifice of any architectural interest built in Connecticut before 1830, after which date the “fancy- dress ball” of architecture began. The author has spared himself no pains, ransacking town and eccle- siastical society records, many of which are extensively quoted. Armed with camera, notebook and flashlight, he has crawled across worm-eaten beams to measure trusses and rafters. Data has been gathered on the most exacting prin- ciples and, to embody the results of Mr. Kelly’s industry, the Colum- bia University Press has used type, plates and paper that are models of their kind. This work now is the classic on its subject, and it is hard to see how it could be superseded or improved.

Panorama des Arts 1947

By Jacques Lassaigne, Raymond Cogniat and Marcel Zahar. Aimery Soger, Paris. $7.50.

Here is a 1947 balance sheet of the international art world, 304 well- illustrated pages that catalogue the principal events of the year. Ex- hibitions are discussed, books are listed, individual artists are criti- cized. This useful book presents a vast panorama of information in concrete and intelligible terms. Ad- vancing from month to month, it accumulates news, but leaves con- clusions to the reader. Here are ex- cellent obituaries on Bonnard, Mar- quet and Asselin which assess their reputations at the time of their death. The only criticism of this book is on geographical terms. It is a French publication and the assumption that Paris alone is the art center is perhaps understand- able, but, if this publication con- tinues to appear annually it is to be hoped that it will include news from such remote capitals as New

York and Rome.

Leon Garland Ten Reproductions. Leon Garland Foundation, Inc., Chicago. $6. These ten color reproductions have been published as a memorial to the Russian-born artist who taught paint- ing at Hull House in Chicago until his death in 1941. The foreword re- calls Garland’s personality and in- terestingly sums up his life and work. A sensitive painter who stiff- ened his thoughtful landscapes and figure studies with a bit of cubist starch, Garland was more remark- able for taste and feeling than for originality. These reproductions are admirable and particularly revela- tory of the artist’s techniques.

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Great Paintings America


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FREDERICK MORTIMER CLAPP of the Frick Collection says: “Important because of the out- standing merit of the pictures re- produced, the high fidelity of its color plates, and the illuminating character of the text.”

ITALO lL. DE FRANCESCO of The Art Education Bulletin says: “Teachers of art will find this

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HIS incomparable book is

a veritable gallery of 101 reproductions of the greatest works in American museums and private collections by Rem- brandt, Rouault, Goya, and 80 other world masters. It took five years to achieve the exquisite fidelity and glowing color of these reproductions. Each pic- ture had to be printed “one in line” with its own special inks to ensure exact duplication. Each print then had to be approved by the person, or museum, who owns the original masterpiece. Truly it is a book that belongs

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have done exclusive edi tions for the Society. A limited number of mem berships are still open. Please write for details to




| (Formerly The Society of American Etehers, Inc.)


| IN ALL MEDIA | Nov. 5 thru 18

National Academy Galleries, 1083 Fifth Ave.. N.Y.


Exhibition: November 22—December 31 Priced Under $15

SERIGRAPHS: w.sis. uv 1

NEW FULL-COLOR Garland Folio

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TEN glowing 12” x 15” major oil paintings by Chicago modernist

reproductions of

leon Garland (1896-1941). Richly satisfying in color, yet tranquil in spirit. Aaron Bohrod says “These are among the finest works of a purposeful artist whom | knew as a friend as well as a fellow painter. All his pictures have something to say, and they say it with great eloquence and simplicity.” A must for ert lovers, collectors, educators, museums, libraries. $6 complete, postpaid. Mail coupon for free exam'nation. Send no money.


leon Garland Foundation Inc. (not for profit) 4176 N. Clarendon, Chicago 13, Ill.

Please send Leon Garland Folio. If | keep it, 1 will remit $6. Otherwise, | will return it within 10 days of receipt.




The enn collector

Léger and Wedel

In his new group of color lithographs, Fernand than ever before to the analytical abstrac-

Léger comes closer

tionists in his examination of the elements of forms and patterns. The print that best shows this new type of expression is The Black Root, a fluid composition of amorphous forms purple, blue, green

in strong red,

and yellow. It achieves rhythmic

direction by the juxtaposition of the

colors and the formal construction with little relation to the flat pat- terns of his cubist period or the

severe verticals and machine forms

of his mechanistic “stovepipe” period. More reminiscent of his former cubist is Blue Landscape, but too, the stark verticals and machine

vision here, forms are tempered by a lyrical, free- rhvthm. This same abstract approach is evident in But-

flowing cubist- terflies, a blithe composition of cres- luminous black. Léger’s most recent subject matter is portraiture. In The Girl, the outlines of figure and features are in heavy black

achieved by

cent forms and areas of

blue, red, green, yellow and

lines. Emotional impact is

the daring red mono- toned background, the yellow beads around the throat of the model and the blue ends of the dress near her breast. Léger’s excellent linear sense is reflected in the stunning curve of the arms over the model’s head, which is continued along the direction of the shoulder and concluded by the upward curve of the dress. This point of tension is balanced by a strong area of green and bfack in the upper right of the picture frame.

Nils Wedel is a print: maker whose work is little known in America. His portfolio of six prints and his two large color lithographs are a good introduction to the work of this colorist. There is an emphasis


on line and color in Abstraction in Blue that is derived from Kandinsky. The intensity of the blues, the boldly stroked areas of red, green and yel- low,