Unesco travelling print exhibition: From impressionism till today

such as Bazaine or Manessier transform the meagre traces t h a t remain. C A T A L 0 G U E Centred mainly in France and in Paris, which one might properly call its capital, modern a r t has radiated over t h e whole world. I t has reached America, already initiated b y Prendergast into t he movements growing out o f Impressionism. Subsequent plastic research has found its most original expression in the work of J o h n Mann, whose water-colours attain a striking form through their dramatic simplification, and in t h a t of Max Weber, a pupil of Matisse, whose constructive mind made him lean more towards Derain. Mean- while, J o h n Sloan, who did no t come t o Europe, was seeking his inspira- tion in direct contact with American life. Certain artists wondered indeed whether modern a r t had no t been guided b y ideas t h a t were too exclusively aesthetic when i t dedicated itself t o the service of plastic form, or too individualistic when i t became t h e vehicle of extremes of personal feeling. I n Mexico a new school was growing up which was resolutely progressing in a completely different direction. Preferring frescoes and spacious murals, artists like Rivera and Orozco were beginning t o find their inspiration in t he everyday life of the people. Aiming a t pri— mitive grandeur rather t h a n a t the refined or t he unusual, t hey developed 2. BRAQUE GEORGES, Still Life The Table, New York Graphic Society. a n a r t which was no t devoid of political intent. This same reaction in favour of collective inspiration and appeal, and of 3. BRAQUE GEORGES, Anemones, The Twin Editions. reconciliation with reality, has been continued during recent years b y such French artists as Lurcat and Gromaire who have been t he forerunners o f 4. CEZANNE PAUL, Boy with Red Vest, Die Piperdrucke Verlags. a triumphant revival of the a r t of tapestry. Bu t they did not feel themselves bound t o depart from t he new methods with which modern a r t has enriched 5. CEZANNE P AUL , Rocky Landscape, D i e P i p e r d r u c k e Verlags. painting bo t h intellectually and emotionally. 6. CHAGALL MARC, Morning Mystery,, New York Graphic Society. Audacious, fond o f innovation, often systematic—modern painting may 7. DEGAS EDGAR, Woman with Chrysanthemums, New York Graphic be reproached with having sometimes exercised too much severity in trans- forming or eliminating what i t did n o t consider t o be of t he essence o f art, Society. b u t t h e temptation t o go to extremes has its own greatness. Let us no t waste time in uselessly contrasting ancient and modern art. 8. GAUGUIN PAUL , Tahitian Landscape, New York Graphic Society. Each came i n its due place and time, each is t h e reaction t o the circumstances of t h a t place and time. The one cannot exclude t h e other in spite o f their 9. GAUGUIN PAUL , I a Orana Maria (Hail Ma r y ) , The Twin Editions. differences, and each has as much justification as h a d Egyptian a r t on the banks o f t h e Nile, and Byzantine a r t within t h e orbit of Constantinople. 10. V A N GOGH \ I NC E N T Fields near A , uvers-sur-Oise, A n t o n S c h r o l l a n d Co. Let us seek and discuss nothing b u t quality rather t h a n theories or methods. 11. V A N G o G u VINCENT, Sunflowers, The Twin Editions. Let us learn t o cu t ourselves sufficiently free from habit t o be able t o appre- ciate new a nd authentic contributions t o a r t wherever they are t o b e found. 12. G i n s J UAN , The Syphon, Guy Spitzer. Let us no t lose t h e benefit of any of t he new wealth, unexpected though it ma y be, which ma n is able t o bring forward t o reduce his indigence i n t h e 13. K L E E PAUL, Travelling Circus, New York Graphic Society. face of t he unlimited possibilities before him. 14. K O K O S C H K . OSKAR, Courmayeur and the Giants' Teeth, The Twin Editions. R E N É HUYGHE . 1 5 . LAURENCIN MARIE, I n the Park, N e w Y o r k G r a p h i c Society. Conservateur en Chef du Département des peintures et des dessins an nmusée du Louvre. 16. LEGER FERNAND, The K i n g of hearts, S c h o o l P r i n t s Ltd. 17. MANET EDOUARD, I n a Boat, T h e T w i n Editions. 18. MANET EDOCARD, The Fifer, F r a n z H a n f s t a e n g l Verlag. 19. MARIN JOHN, Lower Manhattan from the River, The Twin Editions. 20. MARC FRANZ, The Blue Horses, New Y o r k G r a p h i c Society. 21. MARCFIAND ANDRE , Time Quinces, Braun e t Cie. 22. MARQUET ALBERT, The Pont-Neuf, Guy Spitzer. 23. MATISSE H E N R I , Woman with White Dress, G a l e r i e Maeght. 10 it