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The venerable old societies, like the British Artists and the Old Water-Color and the Institute, continue unperturbed in their venerable old ways, opening shows as like as could be to those they have been opening throughout the long, peaceful years of their existence, suggesting no comment or criticism that has not been made a hundred times before. Artist Roger Fry has chosen this moment to break out with an exhibition of fifty-three exercises in Abstract and other Design, some built up about bus tickets and bits of marbled paper with the diligence, but hardly the spontaneity, of the child who has just received his first present of a toy paint-box.

The article reviews the exhibition of the greatest drawings in the world held at the Knoedler Art Galleries in New York City in 1961.

The article reviews the exhibition of the works of Ogden Minton Pleissner at Milch Galleries in Manhattan, New York City in November 1953.

The article discusses performing arts. The recent exhibition of pure water colors and of drawings current at the art museum reveals two very successful transplantations: those of a young artist and an artistic movement. The successfully transplanted young artist is Georges Schreiber, the well-known contributor to New York periodicals and news- papers. The successfully transplanted artistic movement is the New Objectivism of such leading German moderns as Otto Dix and George Grosz. In the general spirit of the movement, Schreiber has taken as his subject life in the raw.

The article reviews the exhibition "The Heritage of French Poster Art," curated by Rene Salanon which was held at the IBM Gallery in New York in summer of 1966.

The article reviews the exhibition "Landscape Drawings and Watercolors From Bruegel to Cezanne" at the Pierpont Morgan Library in Manhattan, New York City, in the second week of February 1953.

The article reviews the "Young Designers Series Exhibition" at Gallery 303 in New York City which features the designs of artists Bruno Brugnatelli, Ewald Breuer, Richard Hess, Kenneth Hine and Clarence Lee.

The article reviews an exhibition of works by Maine artists at the Bixler Art and Music Center at Colby College in Waterville, Maine in the summer of 1963.

The article reviews the exhibition of the lithographs, oils and original drawings by Don Freeman dealing with his subjects for "Newsstand" at the Associated American Artists Gallery starting February 12, 1940.

The article reviews painting exhibitions by Japanese Sabro Hasegawa at The Contemporaries, Norwegian Per Krogh and Italian Prince Henry of Hesse, Germany in Manhattan, New York City.

Reviews the John Marin's paintings at a retrospective exhibition at Corcoran Gallery of Art in Washington, D.C. which will run through May 8, 1962.

Reviews the art exhibition "Drawings by Tiepolo," held at the National Gallery in Washington D.C.

The article reviews the exhibitions "Carnegie International" at the Carnegie Institute in Pittsburgh, Pennsylvania and the "International Business Machines International."

Reports that a group of Philadelphia, Pennsylvania institutions has projected a series of art exhibitions, workshops, film programs, lectures and panels under the title of "Focus," with the theme of all this activity being women's art. Exhibitions marking the commencement of the project; Reception of the project among local women artists; Act of censorship raised in the project; Criticism of the work of artist Judith Bernstein.

The article reviews a diorama exhibition held at the California Academy of Sciences in San Francisco, California in 1951.

The article reviews the painting exhibition of Pablo Picasso at the Cullinian Hall of the Museum of Fine Arts in Houston, Texas.

The article reviews the exhibition which features the works from several Italian artists, including Leonardo da Vinci, Titian, and Michelangelo at the Metropolitan Museum of Art in New York City in 1961.

A tendency dominant in painting since cubism is that which, by means of abstraction, collage, construction and the use of extraneous elements such as paper, cloth, sand, cement, wood, string, metal and so forth, tries almost literally to disembowel the painting. Its pictorial content no less than the physical fact of the canvas itself is to enter the actual presence of the spectator on the same terms and as completely, as do the walls, the furniture and people. What takes place within the borders of the picture has the same immediate status as the borders themselves.

The article reviews an exhibition of cartoonist James Swinnerton's painting "His Last Trail" at the spring show by Salons of America in 1923.

This article reports on the fortieth annual exhibition of the National Academy of Design, New York City, New York. This exhibition is stronger in landscape painting than in any other department of art. George B. Wood's little picture "Clearing off Cold," is an instance minute incident on large canvass. Two years ago Wood exhibited a small painting of Mulleins, and these two pictures are all people know of his work. Charles H. Moore's "Study in the Catskill Valley," is a representation on a very small scale of a very wide range of country. The spectator stands on a slightly rising ground, and looks across perhaps ten miles of low-lying country to the Catskill Mountains beyond.

The article reviews the exhibition "Venice Biennale" which took place in Venice, Italy in 1962.

As a permanent memorial of the exhibition of painter Joaquin Sorolla, the Hispanic Society has reprinted eight of the chief appreciations of this conquering painter of sun light, adding also the tributes of the press, and what is more welcome a complete catalogue of the show illustrated by 350 halftone cuts. One may agree with everything that is said about Sorolla's athleticism of the brush, and ready command of the primary colors. One may accept his gusto without cavil, and yet question whether the zeal that took nearly 160,000 people to see his pictures had much to do with the more permanent qualities of art.

Reviews are presented of New York City art exhibitions, focusing on 1965 exhibitions such as an exhibition of the artist Reginald Marsh at the Gallery of Modern Art, an exhibition of Israeli art at the Jewish Museum, and an exhibition of shaped canvas art at the Guggenheim Museum.

This article presents developments in the field of art, as of February 4, 1909. At the International's art exhibition, the work of British exhibitors hardly makes up for the absence or the indifference, of so many foreign artists. George Sauter, who is a German but he lives in London and is associated rather with the British group. Of this group, not one other shows so interesting and personal a painting as his large resurrection. In another development, a legislative bill is pending in the U.S. Congress to appropriate $20,000 for the purchase of a portrait of Abraham Lincoln, to be hung in the Capital.

The article reviews the first Alliance Graphique Internationale exhibition in the U.S. on November 8 to December 2, 1966 at the American Institute of Graphic Arts in New York City.

Presents news related to the arts. Publication of the diaries of the late British diplomat, Harold Nicolson; Career history of Nicolson; Alleged reason behind Nicolson's failure to win a seat in the House of Lords; Launching of the art exhibition "Rousseau, Redon and Fantasy" at the Guggenheim Museum; Art pieces included in the exhibition; Theme of the show.

Reviews the painting exhibition "Painting in France 1900-1967," held in Washington.

Reviews the art exhibit entitled "Esso Salon of Young Artists," at the IBM Gallery in New York city.

Reviews the exhibition "Recent Painting USA: The Figure," at the Museum of Modern Art in New York, until May 2, 1962.

At the exhibition of the National Academy of Design there were five large drawings, illustrating designs by artist B.M. Hunt for four entrances to the Central Park in New York City and for a terrace in connection with one of them. Photographs of these drawings are now for sale. It seems, then, that the four southern gateways to the park are to be built after these designs. As the southern wall of the park is nearly completed, and is only waiting for the gateways, and as it is already a very long time since gateways were first talked of and reported about, it is probable that the work will soon be begun. These designs, therefore, demand the notice of all who care about the character of decorative architecture.

The article presents information about the fortieth annual exhibition of the National Academy of Design. It is plain that people have been able to learn something from the exhibition of the present state of American art, its achievements and its needs. The exhibition of this year has been more useful than any of those, which have preceded it. This singular usefulness has not been due largely to the greater merit of the works of art composing it. But this year the collection has attracted an unusual amount of attention, and has created an unusual amount of thought on subjects connected with art.

The spring and summer exhibitions in London, England have been as unprofitable as any. They equal or surpass the Academy in dullness, though they include those of the New English Art Club, the International Society, and the Allied Artists' Association, the three societies supposed to stand for all that is youngest, gayest, and most alive in art. The exhibition is a vivid impression of a crowd in the open air, full of movement and color, and far more accurate than the Englishman's painting as a record of character and costume and date. Of course this is no new discovery, but it is one useful to make anew at this moment when contemporary artists in England offer little at all to think about.

This article presents information about the escape of the Royal academy, London, England from conducting winter art exhibition. The excuse is the recent death of four Academicians and one Associate, to a representative exhibition of whose work the winter exhibition is devoted. The Academicians are W.P. Frith, who now seems to belong to so remote a past that, though he died only the other day, he has become something of an old master himself, if a very little one; Sir W.Q. Orchardson, for whose pictures one has long had the habit, in current Academy exhibitions, of turning for relief from the prevailing vulgarity and commonplace; John M. Swan, the fine draughtsman and sympathetic student or animals; and Robert W. Macbeth, who, of the four, seems the most curiously old-fashioned, as the painter ever must who in his time relies upon methods and manners that are but a passing fashion.

The article presents information on several events relating to art. An interesting exhibition of modern work has opened in an art gallery in London, England. The Portrait Painter is the third large exhibition held at this season. The gallery has played an important part in the art history of London during twenty years and more. It is one of the best lighted and best arranged in London. Every member of the Portrait Painters' has the right to exhibit and some members have not enough merit to justify their exhibiting anywhere; so that the show is a curious medley.

This article reports on the art exhibition at the Royal Academy in London, England. The sculptor in England has one advantage over the painter: He has more chances of large and important commissions, though he does not fare so well as his fellow-artists in France or Americans. However, even in England buildings are decorated with, sculpture, the public man must have his monument. Through the medium of the exhibition in the Royal Academy , an effort is made to narrow the difference between the sculptures of England and France.

Reviews the art exhibition "From Informal to Structural Art" which will run from September to October 1968 in Venice, Italy.

This article focuses on the art exhibition of the Pennsylvania Academy. The present show is said to be the best in average quality ever offered here, Of the oncomers there are many close to the leaders, and one finds the ensemble most stimulating. To note standards one eliminate extremes. Works beyond art's gracious ministry to life or out of touch with general culture, problem plays in the visual field or attempts to reform the world or stagger humanity, are happily absent. The two religious paintings by Henry O. Tanner, which might be classed as sentimental or illustrative, cannot, however, be summarily dismissed, for they are able and sincere.

No critic, self appointed to safeguard oppressed and undiscovered genius, nor those chosen young vessels themselves - can complain that the artist with a "tendency" has not been offered a fair chance at the exhibition of the National Academy of Design, open in New York City from March 14 to April 18. In groups and singly, on every hand, are examples of all the latest "movements" in art. And after a tour of the galleries one comes away with the memory of things one does not care for. The Academy hitherto has usually excluded works which have been seen before on its walls or in other public exhibitions in the city. This year, however, with a liberality greater than the Academy has been credited with possessing.

The article presents information about some recent works in art. It focuses on the Uffizi art gallery in Florence, Italy. When the pictures at Santa Maria Nuova were removed to the Uffizi, an already crowded gallery was forced to provide two additional exhibition halls. Moreover, some interesting maps in fresco were found under the hangings of the third Tuscan hall. The room itself has become a sort of resting-place, a much-needed feature in so large a museum, containing only portraits by artist Piero della Francesca. The article also highlights that painting by artist H.H. Reppert will be exhibited at the Lenox Art Academy till April 27.

The article presents information related to the developments in the field of art. "The Life, Letters and Work of Frederic Leighton," by Russell Barrington. The books is rambling and repetitious, padded with much matter of little interest as presented, marred by misunderstandings of foreign tongues, misunderstanding of technical terms, faulty transcription of proper names, and careless proofreading. The sixth annual exhibition of the Municipal Art Society is open at the National Art Society until March 31, 1907.

The article reviews the exhibition of the watercolor drawings of John White which opened at the National Gallery of Art in Washington at the end of January 1965.

The article reviews the exhibition "50 Years of Graphic Arts in America" at the Chemical Bank New York Trust Co. in New York starting March 1, 1966.

The article reviews the exhibition "Young American Paints" at the Rockefeller Galleries in New York City, organized by Binney and Smith LLC.

The article reviews an exhibition devoted to portrait drawing which was held at the Galleries of Portraits Inc. in New York in the spring of 1966.

The article reviews the exhibition "2,000 Years of Calligraphy" at the Baltimore Museum of Art in Baltimore, Maryland on June 6, 1965.

The article reviews the exhibition "Four Realist," held at the New Britain Museum of American Art in Connecticut in 1964 which featured the works of artists Harvey Dinnerstein, David Levine, Aaron A. Shikler, and Burton Silverman.

The article reviews the fourth exhibition of the Photography in the Fine Arts series at the Metropolitan Museum of Art in New York in Summer 1963 organized by painter and printmaker Ivan Dmitri.

The article reviews the exhibition of drawings created by artist Andrew Wyeth featured at the Fogg Art Museum in Cambridge, Massachusetts in Spring 1963.

The article reviews a spring 1961 exhibition featuring American contemporary tapestries at the Otis Institute in Los Angeles, California in collaboration with art dealers Ruth and Dalzell Hatfield.

The article reviews the exhibition "The Twentieth Ceramic International" at the Metropolitan Museum in New York City starting January 23, 1959.