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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.

Presents several letters to the editor. Comment on the paper money in Italy; Professorships of law and medicine; Art exhibitions in Rome.

The article reviews exhibitions of the paintings of Kenneth Noland at the Emmerich Gallery and the art of Stella Frank at the Castelli Gallery as of 1967.

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.

Presents information on the style of artists in Chicago, Illinois. Features of Chicago art; Role of the Chicago School of Art to train its artists; Information on the forthcoming art exhibition organized by the Museum of Contemporary Art in Chicago, Illinois, at the New York Cultural Center.

The article focuses on issues related to art in Germany. The exposition at the Cantian Place is the fifty-first of its kind, yet outside of Germany, and perhaps even in Germany, it has never been able to receive from either the artists or the general public a tenth part of the attention which is regularly bestowed on the Paris, France Salon. Thus, this time there are hardly any works by foreign artists. There is at present much outcry in the German papers about the degeneracy of the modern stage and the decline of the drama. That this is not an unusual thing, and that the literature of all ages is full of such complaints, are well-known facts, alluded to in an article in a recent number of the journal North American Review.

The article compares art exhibition held at Champ de Mars in Paris, France with art exhibition held in Chicago, Illinois. In 1889 France, with her exhibition of the work of the decade from 1878 and the splendid Retrospective Exhibition, including many of the finest works her artists had produced in the hundred years from 1789, was so far in the lead that the U.S., while second, was a long way behind. While there is nothing at Chicago to rival the Retrospective Exhibition at the Champ de Mars, and the French collection of the works of living artists is inferior in quality and much less representative than its parallel at Paris, the Chicago exhibition is probably more interesting to Americans by reason of the great excellence of the showing made by their own country.

This article focuses on painter Morris Graves. Graves works almost exclusively in gouache on paper. He takes most of his motifs from zoology and embroiders them decoratively-birds, snakes, rodents, and the like. All except his very latest pictures are unsatisfactory in one respect or another; yet they have elements of strength in them and make no gestures to fashion or publicity. Graves is one of the most inventive painters in the U.S. His color is somehow not American, being all grays, gray-blues, restrained pinks and madden.

The article presents information about collected etchings of Charles Meryon, a painter. Exhibition of these etchings is visible at an art gallery on Sixteenth Street. These paintings teaches how to make street subjects look grand, impressive, interesting, without quackery or forcing. Meryon attains beauty by his feeling for broad flashes of light, and by knowing how to make the paper work for him, the calm basking gleam being simply bare surface, with a calculated environment. Meryon's skies are simple reliefs for his architecture; their values are exquisitely true and wise, but they have no quality in themselves.

This article presents information on the Eleventh Exhibition of the Water-Color Society. Painter Walter Paris, in his "Lenox Furnace," gives honest work without sensationalism, and shows the hot, withered look of a village of iron-works superheating the landscape of the high summer noon. The "Calm" of P.T. Clays, the Belgian is, of course, a faultless recital of the liquid effects of plashing water-music. "A New Hampshire Kitchen," by Walter Brown, showing a huge fireplace that would be the pride of a modern bric-a-brac interior, and a farmer's wife manipulating the kettle of dyestuff obtained from blue sugar-loaf paper, reveals a care and a promise rare among lady-amateurs. A room is devoted to black and white. The display is very select. Here is a superb proof of Seymour Haden's "Calais Pier," much better than that he exhibited at the Centennial, and a preliminary proof of a corner of the same.

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.

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.

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.

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 most fascinating exhibition in Paris, France a collection of primitive art in artists collections at the Musée de I'Homme, offers parallels with "The Sculpture of Picasso," the show that has just opened with great fanfare at the Museum of Modern Art Simply as a demonstration of taste, particularly among the Surrealists, the Paris event was a revelation of how far the genuinely primitive, in the shape of frightening fetishes and totems. has come to look handsomely decorative. The works that Pablo Ruiz Picasso and Braque collected earlier were more schematic and less potent examples of their kind, but one had the impression that for their owners they opened up a world of such forcefully broken and blunt forms that, in comparison, all later views of the primitive seem a bit housebroken.

The article presents information related to recent developments in art. It says that there is no better exponent than the Royal Academy of the official art that has helped to drive artists to Cubism and Futurism. Whatever change there may be within the Academy in its membership, whatever change without that body in the tendencies and movements of the day, the exhibition at Burlington House never rises above its dull standard of mediocrity. Artists, once the leaders of opposition and revolt, are gathered in the fold, promptly swallowed up in it, to disappear, as far as any signs of their influence can be found upon the Academy walls.

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.

This article presents information about politics and art. At the beginning of its career, the New Gallery, represented a definite school, on movement, in England. Though its managers found place for other painters, it was essentially the headquarters of the Primitives. But gradually, probably for want of sufficient support from the Primitives themselves, it fell away from its first principles, until this year, in its spring exhibition, it has degenerated into a mere annex of the Royal Academy. William Stott's painting "Awakening of the Spirit of the Rose," which is not unlike the Nymph he painted many years since, though a gain in correctness of drawing is more than outbalanced by a loss in poetry of treatment.

In this article, the author presents information on French art and customs by reviewing some of artistic works and exhibitions. He reviews one of French film director, Renoir's strictures "Pas de tapage." He describes that Fauvism was no exception to the self-containment, the decorative sense and the finesse of the Gallic tradition. These remarks refer more to comportment than to expressive values in a given painting. Concerning visual art In France, the author describes that comfort is the prime concern.

As an environment in which to exhibit an artist whose works don't carry well past ten or fifteen feet, the Guggenheim Museum is not a success. Under the blinding lights of the museum, and crowded monotonously together in rows, artist Philip Guston's canvases are in a police line-up. On the occasion of this retrospective, moreover, a stuffy and elementary exhibition catalogue does not help his cause. Yet the kind of justice his paintings crave is not easily given; they have a way of eluding formal analysis and of tripping up rhapsodical interpretation. This exhibition pitilessly reveals that for all his stature as one of the foremost painters, Guston suffers many, and not always deliberate, restrictions.

Despite the sporadic outrage that still greets him in the daily press, artist Jean Dubuffet, whose works are being shown in a large retrospective at the Museum of Modern Art, is a very important painter. And despite the more professional opinion that he is the most significant, because the most ferocious, artist to emerge from France since World War II, he is a quite amiable one. The belief that he is a votary of subversion and madness probably stems from his own romantic pronouncements and one's only piecemeal exposure to his work. In his Natural History, 1951, Dubuffet attains colors that elude conventional description altogether, and force one to use such terms as caramel, sulphur, orchid, etc.

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 on the one hundred and third annual exhibition of the Pennsylvania Academy of the Fine Arts. There are four hundred and fifty-nine pictures on display and each picture looks its best. But, the galleries are too high, and not too well lighted. The exhibition presents both new works as well as old works of a high degree of merit. The exhibition cannot fail to justify one's admiration of the present achievement and confidence in the future excellence of the American school of painting.

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 discusses about various French Salons of Paris. The author takes into account various portrait artists of the Old Salon and the New Salon. Of course in a detailed account of the Old Salon more might be found calling for notice or description, but in the general impression, which is all the author pretend to give, he does not think he has exaggerated the weakness or prevailing dullness of this colossal exhibition. The author has found the Salon this season almost altogether a triumph for the American exhibitors.

Focuses on art critics John Perreault and Robert Pincus-Witten. Professional backgrounds of Perreault and Pincus-Witten; Views of Perreault on the art exhibition titled "The Village Voice," in New York; Techniques of art criticism used by Pincus-Witten.

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.

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 Museum of Modern Art is holding an exhibition on the topic "World and Image," exhibiting more than 350 posters from its own collection. The sense of the exhibit, directed by Mildred Constantine and installed by Arthur Drexier, is at once historical and comparative, giving, counter-clockwise introduction to the big moments of the posteresque, starling with the frenetic Art Nouveau of Jan Toorop and winding up with the equally nervous psychedelic art nouveau of Peter Max. Adjacent galleries assist as more detailed subsections of period styles, a compendium of approaches translated out of or at cousinly remove from, the well-known isms of modern art.

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 throws light on the exhibition and works of the English painter J.M.W. Turner. He wished them to be exhibited. The Turner wing is built at the back of the Tate Gallery, of which it has become a part. One large and one smaller room for paintings, and three still smaller rooms for water-colors and drawings, are on the main floor, while below, in the basement, are four more rooms of a fair size for paintings and water-colors both, and a hail where a few designs and plans are hung The largest room of all is pleasantly spacious but high out of all proportion, with a heavy barrel-shaped roof.

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.

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.

In this article, the author focuses on American art in comparison to nineteenth-century interest in Japanese popular art and the twentieth-century interest in Impressionism and Cubism. He describes that American painting has a new quality that attracts interest even behind the iron curtain. From international exhibitions it looks as though this painting style, which is more accurately called non-objective than abstract, is not a spontaneous growth contemporary in all countries, but that it has its greatest authority in New York. The new American painting comes from a variety of sources, mostly French and Japanese.

The article discusses an excursion to Paris. Naturally a Picasso exhibition, whenever it occurs, towers above all others. Any public appearance of painter Pablo Picasso is a sensation. The way in which even the people most opposed to his politics respond to the multifarious activities of this man of genius is in itself proof of the difference in the artistic atmosphere of Europe and America. It is not easy to imagine U.S. President Dwight Eisenhower lending the authority of his presence to the opening of an exhibition of a. Communist painter.

Presents letters to the editor in response to the articles discussed in previous issues of the journal "Nation." Discussion on how letters of protest poured in when KEX, a radio station dropped a much popular liberal commentator in the article entitled "Zone of Silence"; Refusal of the advanced artists to contribute to the monster national exhibition to be held at the Metropolitan Museum of Art in December, 1951; Victory of politician Helen Douglas in the first round of fight for her political life in California.

The article presents information about the International exhibition at Berlin, Germany. The fact that this summer's Internationale Kunst-Ausstellung in Berlin is of far less artistic importance than the exhibition in Paris two years ago really gives it its chief value, paradoxical as it may sound. As a whole, the exhibition is dull and life-less. Most of the exhibiting nations can boast of a fair, technical average and even of one or two artists of individuality and power; the average, however, is that of men who have learned their trade very thoroughly, but who have no special use for their knowledge, and can only do what has already been, done again and again.

The article reports that last year the Société Nationale des Beaux-Arts, exhibiting in Champ de Mars, Paris, France, was the result of a schism in the Société des Artistes Français. The difference in the management of this year's show, from the Royal Academy, in the Palais de l'Industrie is marked. There has been a decrease of almost 800 in the number of pictures, of more than 900 in the sculptures accepted. This change is a decided improvement for the visitor, but it has caused much ill-feeling among the artists who have found themselves rejected from both salons.

If at the Royal Academy cheap sentiment and indifferent technique prevail, at the New Gallery indifferent technique and affectation are the order of the day. In England genuinely good work is the last quality looked for in painting, or indeed in any branch of art. If a man be but eccentric or self-assertive enough, whatever he may choose to do is, pronounced great by the artless public. A group of artists in Brussels, Belgium, supposed to represent all that is most modern and most thoroughly artistic in contemporary art, every year invite two English artists to contribute to their exhibition. It would be useless to dwell at such length on the exhibited work which is least artistic, were it not that it gives the New Gallery collection whatever little character it has, and that it is the outcome of the most deplorable but most highly esteemed tendency in modern English art.

The sixty-third annual exhibition at the Academy of Design contains 598 works in all. Only seventeen or eighteen of these are sculptures. The current exhibitions of American art are all alike in this respect, consisting almost entirely of pictures, and what few examples of the sculptor's art they may include are placed at random in the picture galleries, and are not even thought important enough to have a separate department in the catalogue. Of the two Venetian pictures, though there is much delicacy of observation and subtile painting in the picture of the street, with its graceful figures, of the girl, whose pink dress is partly covered by her clinging black shawl, and the men at the doorway, one finds more solid merits than these in the "Venetian Interior."

This article informs about the exhibition of American Art Association, which possess a unique interest in the display of works by American painters abroad. "Sur Ia Tamise," No. 256, by Eugene Vail, is a notable example of successful treatment of a rather difficult effect by an artist of no mean ability, who evidently set to work to make the best picture possible out of a commonplace subject. A heavy row-boat with a couple of children in it, riding on the dirty waters of the Thames, with the walls and towers of smoky London for a background, and all enveloped in a yellow fog, is the subject.

The article focuses on the exhibition of French paintings held in Chicago during 1893. If the French had included in their exhibition works by men who have died recently, as the British, the Americans, and others have done, there might have had pictures by Robert Delaunay, Jean Louis Ernest Meissonier, but it was more logical to leave them out. The seriousness of purpose and the general excellence of the work from the technical point of view, especially the thorough knowledge of construction shown in both the figure and landscape pictures, make it superior to the American exhibition in these respects.

For the Royal Academy's "winter atonement," as it is jocularly called, is always as delightful as the summer show is deplorable, and, this year's being the twenty-third, it does not seem possible that private picture collections can stand the annual drain much longer. But they would just begin exhibiting them all over again, was the Academy's answer, since nobody really remembered then from one year to another. On the whole, the exhibition is far from being a mere repetition. In general interest, it holds its own with those that have preceded it. The canvases to be passed unnoticed are in as marked a minority as will be those worth stopping for among the mediocrities destined to cover the same walls in a few months to come.

Focuses on the artistic collections in several museums of New York as of September 07, 1974. Brief information several art exhibitions held in the museum; Features of various sculptures made by Constantin Brancusi, present at the Whitney Museum.

Several creative people in San Francisco, California, has formed an Artists' Liberation Front (ALF). One revolutionary aim of the ALF is to help artists help themselves instead of begging the city and the local gentry to subsidize their performances and exhibitions. Another is to lead the fight against censorship, the banning of shows from the parks and the closing of clubs under all the pretexts known to the police. Prime movers in the new group include Tillie Olsen, the skillful short-story writer, Ron Davis, head of the San Francisco Mime Troupe, Bill Graham, a folk-rock impresario and Man Meyerson, director of the cabaret called The Committee.

This article focuses on an exhibition of Paul Cezzane, a French painter, which was of water colors. The author provides information that there were seventy-three water colors in the exhibition. According to the author, Cezzane was an artist who combined to an unusual degree, an unspontaneous studiousness with an immense passion, and the style he achieved in his water colors is distinguished above all by his ability to engage the strengths of both these tendencies on more or less equal terms.