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The Indianapolis Star, Indianapolis, IN, “In the world of art” by Lucille E Morehouse, Sunday, October 12, 1930, page 56, not illustrated

October 12, 1930

ECA Record Control Number: 20344

Record Level: Reference

Record Type: Newspaper

Article Type: Work Mention

Key Title: In the world of art

Sub Title: -none-

Language: English

Author: Lucille E Morehouse

Publisher: The Indianapolis Star
Publish Location: Indianapolis, IN

Date of Publication: Sunday, October 12, 1930

Page: 56, not illustrated

Source: Newspapers.com paid subscription

Description: 1 newspaper clipping

Subjects:
Carlsen, Emil, 1848-1932.

Number of copies: 1

Digitized: yes

BOOK/NEWSPAPER

The Indianapolis Star, Indianapolis, IN, "In the world of art" by Lucille E Morehouse, Sunday, October 12, 1930, page 56, not illustrated.

The Indianapolis Star, Indianapolis, IN, “In the world of art” by Lucille E Morehouse, Sunday, October 12, 1930, page 56, not illustrated.

TRANSCRIPTION

In the world of art

By Lucille E Morehouse

Many choice paintings loaned herron from homes in the city

We are pointing with pride—as the campaign orator says—to the paintings that are owned in Indianapolis homes.

Not that we have had an opportunity to take an inventory of all much pictures, but, judging from the crosssection that has been sent to the John Herron art institute for the October exhibition, it would seem that not all the good art is housed in the art galleries and museums.

Many choice things by noted American artists, both contemporary and those who belonged to an earlier period, as well as several examples by European old masters, are being gathered in—of need being gathered in at the time this article was in preparation the middle of last week. By today, the greater part of the loan collection will be in place on the walls of the big south gallery and the east octaginal gallery on the upper floor of the Herron art museum. A few of these paintings date back to the eighteenth century or earlier, but the most of them are from the latter part of the ninteenth and the earl part of the twentieth centuries.

Vagaries of fashion shown in display.
It is a good time to study styles in painting—also styles in frames—for fashions in art change as they do in automobiles and radio sets. What was the style yesterday looks old-fashioned yesterday is more than likely quite in style today. When portrait painters of but a few years ago pleased the brotherhood of artists with their “broad” manner of applying paint to canvas, it was quite the thing to find young students from the schools poking fun at the smoothly finished surfaces of the very early schools of portraiture.

But now that certain artists who are among the most sought-after today of the modernist groups do their brush work in such way as to give surfaces the smoothness of a color print, the portraits by “old masters” can cheerfully wipe the dust from their faces and feel that they are open again quote in the fashion. Only a few years ago we talked a good deal about artists working in a “high key.” Now that they are giving much undivided attention to “pattern” and “simplification” in an effort to “go modern,” they seem to have foregotten all about the high key to which they used to turn their songs in paint. A few rather high-keyed paintings in the present collection seem to have more of an old-fashioned look than others that were painted many years earlier.

About the most up-to-datish canvas that met my eye as I looked among the pictures that were stacked about on the floor of the big gallery in preparation for hanging, was a portait painted at Provincetown by Charles W. Hawthorne. It would hold its own in most any modern show and it would not look badly out of place in a collection of old masters which certainly must argue for its enduring merit as a work of art.

The Hawthorne portrait, lent by Miss Lucy Taggart, doubtless presents the daughter of a Provincetown fisherman. Dressed in yellow, the young woman holds a bouquet of yellow flowers with widely innocent eyes. It would seem that night has fallen on old Cape Cod, for the water takes on a blue that painters put into nocturnes and a big boat looks black in the middle distance. The girl’s figure is in full light, probably from some strong artificial light on the bridge or pier span which she is sitting.

Portrait painted as symphony in green.
Not far from the Hawthorne I found a beautiful large upright on example of portraiture by Jean MacLean. This canvas is also a loan from Miss Taggart, While the profile portrait of a young woman in decollete dress is an excellent piece of work, the artist was evidently more concerned with a symphony in green, as she painted the rich green tones of the background draperies and clothed the young woman on a grass-green garment of mysterious beauty.

Two of the four loans by Booth Tarkington were noted in the large gallery. One is a picture which frequently has been reproduced, a full length life size portrait by Ernest Blumenschein, in which the sitter quite belies the part indicated by the title, The Tragdian. Rotund of build with a jolly fat face whose cheeks puff out beyond the curved brim of the squarish low “plug” hat that looks strangely old fashion in these days of high top hats or none at all, not withstanding it, it is worn with a rukish air. This tragedian is of such ruffian build and meiter that one questions how he could possibly “strut his stuff” in grim tragedy. It is recalled that, for many years, Blumenschein has been a leading member of the Taos (N. M.) colony of artists and has put the Indians and their pueblos into his large and landscape compositions.

The Goldfish Bowl, by Henry Hubbell, a second one of Mr. Tarkington’s loans to the exhibition is of different type. A willowy young woman sits on the edge of a table so that her long white dress a glint of gold in the narrow braid that triims it—falls gracefully to the floor, the while she is intent on watching the goldfish, her head bent over the large glass bowl. The canvas is a very long upright, perhaps six feet or more so there is plenty of room to drape a white linen table cover, lace-trimmed so that it almost touches the floor, where there is still more painting of white in the rug of white fur.

The Emil Carlsen example, Woman and Chickens, in which portrait, still life and interior are equally stressed is of interest. The painting of a copper vessel on the floor links the work with Carlsen’s present impeccable still life painting. The Carlsen is lent by J. I. Holcomb. The very large landscape by George Inness, although not protected by glass, is beautifully fresh and clear in its quaint color tones that set forth a green summer meadow, great elms and distant farmhouse on the side of a low hill, all under a sky that is blanketed with gray clouds except at the more luminous horizon. The Innes, lent by William Haueisen, is probably one of the most beautiful examples of landscape in the exhibit.

Unusually strong marine by Frederick Waugh shown.
An unusually strong marine by the American master of seascapes, Frederick Waugh, pictures a storm sea in which a giant wave lifts its great mass toward a maddened sky, while the dark clouds seem to spit fury as they almost touch the high crest of the wave. The Waugh is lent by Frederick M. Ayres. While the list of paintings that comprise the exhibition of Indianapolis-owned pictures will have other additions by the time the collection is all assembled, the following list includes the greater part of the collection and gives a good idea of the high value, as well as the varied nature, of the exhibition which was planned as the important October display at the Herron art institute.

Booth Tarkington has lent The Tragedian, by Ernest Blumenschein; Goldfish Bowl, by Henry Hubbell; a portrait by Largilliere and a landscape by Willard Metcalf. George Calvert has lent Richard Miller’s Woman on Porch, Childe Hassam’s Moonrise, also landscapes by Winslow Homer, A. H. Wyant and Ernest Lawson. Mrs. John N. Carey has lent Figures, by Diaz; a landscape by Gifford Beal and Figures, by Jerome Myers. Mrs. J. W. Fesler has lent a landscape by Alfred Churchill. Mrs. Kate McGowann has lent a landscape by William Keith.

Miss Lucy Taggart has lent a portrait by Charles W. Hawthorne and a portrait by Jean MacLean. Mrs. H. B. Burnet has lent a maine by William Ritschel and landscapes by Henry Ranger and Guy Wiggins. Frederic M. Ayres has lent a marine by Frederick Waugh and a still life by Howard Hildebrandt. Mrs. L. C. Boyd has lent a landscape by Bruce Crane, Hugh McK. Landon has lent Girls at Seashore, by F. W. Benson. H. R. Wilson has lent a marine by Elliott Daingerfield and an interior by Israels. William Haueisen has lent a landscape by George Inness.

John P. Frenzel has lent a landscape by Blakelock and a portrait by Robert Henri. G. M. Williams has lent two portraits, one of them by Gainsborough. Raymond Lynn has lent a landscape by Nicolas Poussin. Richard Sinclair has lent Winter Landscape, by Harry Waltman. George Philip Meier has lent a landscape by Lawrence Mazzanovich.

Art pilgrimage to Kokomo today.
Kurt Vonnegut has lent Frank Duveneck’s Street Urchin, J. I. Holcomb has lent Emil Carlsen’s Woman and Chickens, also Winter Landscape, by George Bellows. Charles Sommers has lent a group of five paintings. The group consists of the following: The Dance, by Teniers; Arabian Horseman, by Schroyer; Girl and Dog, by Greuze; The Nun, by Henner; Daughter’s Portrait, by Lenbach.

Fred Brumblay of North Vernon, who is a third year student in the Herron art school, is an assistant in the upper galleries of the Herron museum.

An exhibition of Hans Luthmann’s etchings will open today in the print room of the Herron museum, to continue through the month.

Paintings by Carl and Wood Woolsey of the Taos colony of artists at Taos, N. M., will be displayed at the H. Lieber Company galleries from Oct. 13 to 25, inclusive. Some of the titles of the forty-one paintings are Winter Among the Pines, The Rain Gods, The Green Dress, Solitaire, Tracing the Color, Old Man of Taos, Columbine, Anita, Corner of the Patio, Adobe Worker, Garden Nook, Adobe Fireplace, Summer in Canyon, Black Bowl, New Mexico Village and Young Hollyhock.

The Woman’s Department Club will sponsor an art pilgrimage to Kokomo today, leaving Indianapolis in automobiles at 8 o’clock this morning and returning late in the afternoon.”

WORKS BY EMIL CARLSEN

 

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Digital-born Document Number:
ECA.2017.20344

Digital Document Provenance:
Original compiled and researched document by the Emil Carlsen Archives, 266 West 21st Street, Suite 4E, New York, NY 10011.

Document License:
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Image License:
The author of this artwork died more than 70 years ago. According to U.S. Copyright Law, copyright expires 70 years after the author’s death. In other countries, legislation may differ.

Record Birth Date:
March 23, 2017

Last Update:
March 23, 2017

©2013-2017 Emil Carlsen Archives

Digital-born Publication Title: Emil Carlsen Archives
Publication Subtitle: World's Largest Visual Reference Dedicated to the Preservation of the Work of Danish-American Impressionist/Realist Painter, Emil Carlsen [1848-1932]
Library of Congress Subject Authority Heading: Carlsen, Emil, 1853-1932
Emil Carlsen LC control no.: n 85141186
Publication Type: Online Integrating Resource
Language: English
Creator/Author: Emil Carlsen Archives
Published by: Emil Carlsen Archives, 266 West 21st Street, New York, NY 10011
Edition: First
Frequency of Updates: Daily
Publish Date: 2013 –
End Date: none, continuing
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MARC Organization Code: 41959
MARC Org Code: NyNyECA
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