The Brooklyn Daily Eagle, Brooklyn, NY, “The spring academy : Two important figures in art world commemorated, Emil Carlson [sic] and John Gelatty—first Hallgarten prize not awarded”, Sunday, March 27, 1932, page 58, not illustrated
ECA Record Control Number: 20677
Record Level: Reference
Record Type: Newspaper
Article Type: Work Mention
Key Title: The spring academy
Sub Title: Two important figures in art world commemorated, Emil Carlson [sic] and John Gelatty—first Hallgarten prize not awarded
Publisher: The Brooklyn Daily Eagle
Publish Location: Brooklyn, NY
Date of Publication: Sunday, March 27, 1932
Page: 58, not illustrated
Source: Newspapers.com paid subscription
Description: 1 newspaper clipping
Carlsen, Emil, 1848-1932.
Number of copies: 1
“The Spring Academy
Two Important Figures in Art World Commenorated, Emil Carlson [sic] and John Gelatty—First Hallgarten Prize Not Awarded
Two men who in their separate ways were important figures in American art history, the one as a painter the other as a collector of American paintings, are commemorated in the Spring Academy, which opened yesterday at the Fine Arts Building, Manhattan. They are Emil Carlson [sic], one of the foremost members of the academic group and member of the Ten, and John Gelattly, the collector, who both died this past Winter. Emil Carlson’s [sic] impressive religious picture O Ye of Little Faith! hangs in the place of honor in the Vanderbilt Gallery and beside it is placed Mahonri Young’s portrait bust of the artist which has been awarded the Maynad portrait prize. Close by hangs Irving Wiles’ portrait of the collector wearing the short white topcoat that made him so conspicuous a figure in galleries and wherever artists forgathered for over a quarter of a century.
Each year the ranks of the N. A.’s who made the Academy the vital and representative institution that it once was grow weaker. And the new crop is in no way comparable. The academic tradition which could harbor such fine creative talent comes more and more to be a formula for picture manufactring, and a formula by no means so well learned as it was by the older group. Where again does one see such craftsmanship combined with creative sensibility as was the case with Emil Carlson’s [sic] still lifes, which despite the mystic fervor of the commemorative canvas were unquestionably his best work? It simply doesn’t exist any longer in academic circles.
The current academy taken as a whole gives the beholder the impression of able and springhtly mediocrity. Only in a few cases does there seem to have been any emotion behind the accomplished manufacturing of easel pictures.
In several instances the creative urge is found in time-honored exhibitors, but there are also several finds. And, certainly, the prize winners have not run true to type this year.
The Prize Winners
Robert Brackman, the young painter who has come so much to the fore in the last year, wins the Crane prize of $300 for what is presumably a self-portrait presented in the artist’s personal but somewhat pale way of saying things. It is unquestionably one of the best portraits in the show, but I find myself wishing that Mr. Brackman would instill more energy in his work, as it is dangerously near the formula stage.
The first Hallgarten prize was not awarded. It will be remembered that that the three Hallgarten prizes go to artists under 35, and apparently no one met the specifications of youth plus ability. The second Hallgarten was awarded to one of the finds, Jes Schlaiker, for a sensitive figure composition entitled The Little Ones. Young thing, humans and animals, are grouped together in an out-of-door setting in which distant blue mountains play an important part in dramatizing the composition. Without an undue stressing of design the canvas impresses one with its striking pattern, but without losing thereby anything of the emotion and sentiment which give it its quality and personality.
The third Hallgarten prize goes to a very able snow picture by Carl W. Peters entitled Barnyard. Crisp, direct, carefully if perhaps a trifle too objectively observed, it is one of the most sincere and pleasing canvases in the exhibition. The first Altman prize of $1,000 was awarded to Victor Higgins for a sensational landscape entitled Winter Funeral. Unquestionably a striking picture, heavy, portentous clouds hang low over snow-covered mesas and seem to weigh down upon the funeral cortege, which consists largely of Fords looking like so many black bugs against the immensity of snow-covered South-western desert. Striking, yes, but it is thin and too obviously seeking for effect. The canvas lacks the necessary leaven of human emotion. The second Altman prize of $500 went to George Oberteuffer’s The House of the Rabbi, a New York street scene, painted with the artist’s unfailing taste and ability to get the mood and flavor of place. In being almost a sketch, it is an unusual canvas to have been awarded a prize.
The Speyer prize of $300 for the best treatment of an animal subject went to Hamilton Humes’ bronze, The Wounded Crow, a curious one for plastic treatment, but the artist has succeeded in reducing it into a striking plastic design.
Other Outstanding Exhibits
I find in looking over my catalog that there seems to be an unusual number of canvases beside which I have placed my own special mark of approbation. I forthwith list the artists: Leon Kroll, Kenneth Frzier, Luigi Lucioni, Theodore Van Soelen, Harry Hoffman, Gordon Samstag, Guy Pene Du Bois, John Wells James, Harry Leith Ross, Kathrien Wright, Frederick Duncan, Ogden Pleissner, Wayman Adams, Sophie Brannan, Lew Davis, Mable Pugh, Ernest Lawson, Gifford Beal, Jonas Lie, Hilda Belcher, Chauncey Ryder, H. Amiard Oberteuffer, Ernest Ipsen, Keith Shaw Williams, Anna Fisher, Ellen Emmet Rand and Wilford Conrow.”
WORKS BY EMIL CARLSEN
Digital-born Document Number:
Digital Document Provenance:
Original compiled and researched document by the Emil Carlsen Archives, 266 West 21st Street, Suite 4E, New York, NY 10011.
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Record Birth Date:
April 13, 2017
April 13, 2017