exhibition of czechoslovak art

3
Exhibition of Czechoslovak Art Author(s): Louise Connolly Source: The Metropolitan Museum of Art Bulletin, Vol. 13, No. 1 (Jan., 1918), pp. 23-24 Published by: The Metropolitan Museum of Art Stable URL: http://www.jstor.org/stable/3253760 . Accessed: 19/05/2014 01:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve and extend access to The Metropolitan Museum of Art Bulletin. http://www.jstor.org This content downloaded from 195.78.109.37 on Mon, 19 May 2014 01:53:31 AM All use subject to JSTOR Terms and Conditions

Upload: louise-connolly

Post on 04-Jan-2017

219 views

Category:

Documents


3 download

TRANSCRIPT

Page 1: Exhibition of Czechoslovak Art

Exhibition of Czechoslovak ArtAuthor(s): Louise ConnollySource: The Metropolitan Museum of Art Bulletin, Vol. 13, No. 1 (Jan., 1918), pp. 23-24Published by: The Metropolitan Museum of ArtStable URL: http://www.jstor.org/stable/3253760 .

Accessed: 19/05/2014 01:53

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve and extend access to TheMetropolitan Museum of Art Bulletin.

http://www.jstor.org

This content downloaded from 195.78.109.37 on Mon, 19 May 2014 01:53:31 AMAll use subject to JSTOR Terms and Conditions

Page 2: Exhibition of Czechoslovak Art

BULLETIN OF THE METROPOLITAN MUSEUM OF ART BULLETIN OF THE METROPOLITAN MUSEUM OF ART

tors were the first to represent the person of Buddha. The Gandharan Buddha is a debased Apollo upon whom the Buddhist monks have grafted the laksbanas or marks of divinity attributed to the person of Buddha, such as the short hair, the long arms, the pendent ear lobes, etc. But the type thus created was an incomplete symbol, which might satisfy the devout with a representation of the physical ap- pearance of Buddha, but which failed to express-did not, per- haps, even attempt to express those qualities of mind and heart in which lay the true greatness of that Prince Siddhartha, who renounced his rank and worldly pos- sessions to seek the "truth that should avail to liberate all men from the bond- age of mortality." The expression of spiritual character, the completion of the symbol, was the achievement, not of foreigners working under the dictation of monks, but of that purely Indian art . . which succeeded the Graeco-Buddhist HEAD OF BUDDHA

school of Gandhara. JAVA, IX It is to native Indian genius that we owe the familiar type of Buddha, the Enlightened One, the type which is so superbly illustrated in the recent addition to our collections of Asi- atic art. J. B.

EXHIBITION OF CZECHO- SLOVAK ART

ON December 9 were seen in the base- ment of the Metropolitan Museum, in one of the class rooms, three artists--a painter, an engraver, an etcher-all men of reputa- tion, standing entranced over a white,

tors were the first to represent the person of Buddha. The Gandharan Buddha is a debased Apollo upon whom the Buddhist monks have grafted the laksbanas or marks of divinity attributed to the person of Buddha, such as the short hair, the long arms, the pendent ear lobes, etc. But the type thus created was an incomplete symbol, which might satisfy the devout with a representation of the physical ap- pearance of Buddha, but which failed to express-did not, per- haps, even attempt to express those qualities of mind and heart in which lay the true greatness of that Prince Siddhartha, who renounced his rank and worldly pos- sessions to seek the "truth that should avail to liberate all men from the bond- age of mortality." The expression of spiritual character, the completion of the symbol, was the achievement, not of foreigners working under the dictation of monks, but of that purely Indian art . . which succeeded the Graeco-Buddhist HEAD OF BUDDHA

school of Gandhara. JAVA, IX It is to native Indian genius that we owe the familiar type of Buddha, the Enlightened One, the type which is so superbly illustrated in the recent addition to our collections of Asi- atic art. J. B.

EXHIBITION OF CZECHO- SLOVAK ART

ON December 9 were seen in the base- ment of the Metropolitan Museum, in one of the class rooms, three artists--a painter, an engraver, an etcher-all men of reputa- tion, standing entranced over a white,

(

I

c (

I

c

embroidered, peasant woman's cap. They passed it from hand to hand as they dis- cussed the originality of its designs, the historic relations of its motifs, and the skill of its workmanship.

The peasant woman's cap was one of the articles shown in the Czecho-Slovak Exhi- bition, and the three to whom it served as text were representative Bohemian- American artists.

The Metropolitan Museum is not only metropolitan; it is cosmopolitan. It pre- serves and explicates beginnings in the light of continuings, as well as of declin-

LA STONE i4, ings. Hence the Czecho-Slovak Exhi- bition, to which one descends from the more pretentious, but perhaps not more significant exhibitions

~:~~ - . of the old Egyptians. ii~:~; ~ Almost 400 Bohem-

ians came on that Sunday afternoon to hear Mr. Vondrous, in English, and Mr. Pavel Sochan, in Bo- hemian, tell of the old

...;;' Slovak arts, and the long abeyance of their flowering and fruit-

VOLCANIC STONE ing, and of the na- _ENTURY tional Renaissance.

embroidered, peasant woman's cap. They passed it from hand to hand as they dis- cussed the originality of its designs, the historic relations of its motifs, and the skill of its workmanship.

The peasant woman's cap was one of the articles shown in the Czecho-Slovak Exhi- bition, and the three to whom it served as text were representative Bohemian- American artists.

The Metropolitan Museum is not only metropolitan; it is cosmopolitan. It pre- serves and explicates beginnings in the light of continuings, as well as of declin-

LA STONE i4, ings. Hence the Czecho-Slovak Exhi- bition, to which one descends from the more pretentious, but perhaps not more significant exhibitions

~:~~ - . of the old Egyptians. ii~:~; ~ Almost 400 Bohem-

ians came on that Sunday afternoon to hear Mr. Vondrous, in English, and Mr. Pavel Sochan, in Bo- hemian, tell of the old

...;;' Slovak arts, and the long abeyance of their flowering and fruit-

VOLCANIC STONE ing, and of the na- _ENTURY tional Renaissance.

Then a representa- tive of the Museum pointed out the duty of immigrant Americans whose heritage is beautiful to foster in their new home art, in its two aspects of appreciation and production, and such skill as they possess, not only, or chiefly, in old applications, but in the incorporation of beauty into all the constructive tasks to which they set their hands.

The Czecho-Slovak Exhibition consisted of embroideries, laces, hand-woven and hand-spun textiles, ribbons, caps, aprons, vests, shirts, bodices, nets, kerchiefs, decorated pottery, glassware, decorated

Then a representa- tive of the Museum pointed out the duty of immigrant Americans whose heritage is beautiful to foster in their new home art, in its two aspects of appreciation and production, and such skill as they possess, not only, or chiefly, in old applications, but in the incorporation of beauty into all the constructive tasks to which they set their hands.

The Czecho-Slovak Exhibition consisted of embroideries, laces, hand-woven and hand-spun textiles, ribbons, caps, aprons, vests, shirts, bodices, nets, kerchiefs, decorated pottery, glassware, decorated

23 23

This content downloaded from 195.78.109.37 on Mon, 19 May 2014 01:53:31 AMAll use subject to JSTOR Terms and Conditions

Page 3: Exhibition of Czechoslovak Art

BULLETIN OF THE METROPOLITAN MUSEUM OF ART BULLETIN OF THE METROPOLITAN MUSEUM OF ART

Easter eggs, children's drawings, and pic- tures showing architecture and interior and exterior decoration. To these objects, which are the material for direct instruc- tion, were added some prints showing the natural setting within which Bohemian or Slovak art grew up; an ethnic map, showing where and among whom the Czecho-Slovaks live and work; and a por- trait of John Huss, presiding over all, symbol of the subsoil of emotion in which Czecho-Slovak art is rooted.

The wise in textile lore who visited the exhibition commented upon the varieties of patterns and of stitches, upon the directness of inspiration from nature shown by the conventionalizations used, upon the courage and the integrity shown in choice and handling of color, upon the richness of design and the freedom of technique, and upon the thousand and one ways in which the facts of race and nationality can speak through the point of a needle. Tyrolean contagion, Teutonic sophistication, Magyar motifs, Mohamme- dan influence, sacerdotal symbolism can all be acknowledged or discounted; we can still read here the message of a people's soul, rippling out through the finger-tips of its women, and organizing itself, through the endless items of personal adornment and personal service, to form a unit of ethnic art which, in Carlylean phrase, is "significant of much."

American visitors have been many: for the exhibition, quite fortuitously, oc- curred at a time when the peculiar position of the Czecho-Slovak peoples, technically our foes, really the barometer of our pur- poses in the new game of ethnic chess, was absorbing much agitated attention.

Bohemian visitors also have been many. The Bohemian colony of New York, some thirty to fifty thousand in number, lies not far from the Museum, and the cultured inhabitants of the district, of whom there are many, are among its frequenters. To the young this exhibition has given a clearer knowledge of the respect due their well-nigh immediate ancestors for a no mean contri- bution to the beauty love, and the beauty strife, of the world. And to the old has come a sense of recognition and an incen-

Easter eggs, children's drawings, and pic- tures showing architecture and interior and exterior decoration. To these objects, which are the material for direct instruc- tion, were added some prints showing the natural setting within which Bohemian or Slovak art grew up; an ethnic map, showing where and among whom the Czecho-Slovaks live and work; and a por- trait of John Huss, presiding over all, symbol of the subsoil of emotion in which Czecho-Slovak art is rooted.

The wise in textile lore who visited the exhibition commented upon the varieties of patterns and of stitches, upon the directness of inspiration from nature shown by the conventionalizations used, upon the courage and the integrity shown in choice and handling of color, upon the richness of design and the freedom of technique, and upon the thousand and one ways in which the facts of race and nationality can speak through the point of a needle. Tyrolean contagion, Teutonic sophistication, Magyar motifs, Mohamme- dan influence, sacerdotal symbolism can all be acknowledged or discounted; we can still read here the message of a people's soul, rippling out through the finger-tips of its women, and organizing itself, through the endless items of personal adornment and personal service, to form a unit of ethnic art which, in Carlylean phrase, is "significant of much."

American visitors have been many: for the exhibition, quite fortuitously, oc- curred at a time when the peculiar position of the Czecho-Slovak peoples, technically our foes, really the barometer of our pur- poses in the new game of ethnic chess, was absorbing much agitated attention.

Bohemian visitors also have been many. The Bohemian colony of New York, some thirty to fifty thousand in number, lies not far from the Museum, and the cultured inhabitants of the district, of whom there are many, are among its frequenters. To the young this exhibition has given a clearer knowledge of the respect due their well-nigh immediate ancestors for a no mean contri- bution to the beauty love, and the beauty strife, of the world. And to the old has come a sense of recognition and an incen-

tive to renewed endeavor in their national art.

When the offspring of the artificers of many lands habitually come in, and habi- tually stay awhile among the culled arti- facts of many lands, spread for their en- lightenment, there can be no doubt, to bring the matter down to its lowest terms, that the markets of many lands will some day reap the results.

LOUISE CONNOLLY.

SARGENT'S PORTRAIT OF PRESIDENT WILSON

THROUGH the courtesy of the Govern- ors of the National Gallery of Ireland, and with the acquiescence of President Wilson, the portrait which John S. Sargent has re- cently painted of the President for that gallery will be exhibited in our Museum for a month, beginning on January 12.

As the circumstances which brought about the painting of this portrait have been frequently misrepresented, the follow- ing statement of the facts, which is given upon the best authority, will be of interest, and is due as a matter of justice to those who are chiefly concerned:

Shortly after the outbreak of the European war there was an auction sale at Christie's for which many artists, Mr.

Sargent among others, gave pictures or drawings. Perhaps suggested by this incident, he was subsequently informed by the British Red Cross that an offer of the sum of ten thousand pounds had been made to it if Mr. Sargent would paint a picture of the proposed donor. Mr. Sargent naturally agreed. This offer afterward fell through, but was later taken up by Sir Hugh Lane, who was drowned on the Lusitania. By his will he left his collection to The National Gallery of Ireland, which generously respected his intentions with regard to The British Red Cross, paid the sum promised to it, and selected for the subject of the proposed portrait by Mr. Sargent, "The President of the United States."

It will thus be seen that in the last instance the order for the portrait at the price named went to Mr. Sargent from the

tive to renewed endeavor in their national art.

When the offspring of the artificers of many lands habitually come in, and habi- tually stay awhile among the culled arti- facts of many lands, spread for their en- lightenment, there can be no doubt, to bring the matter down to its lowest terms, that the markets of many lands will some day reap the results.

LOUISE CONNOLLY.

SARGENT'S PORTRAIT OF PRESIDENT WILSON

THROUGH the courtesy of the Govern- ors of the National Gallery of Ireland, and with the acquiescence of President Wilson, the portrait which John S. Sargent has re- cently painted of the President for that gallery will be exhibited in our Museum for a month, beginning on January 12.

As the circumstances which brought about the painting of this portrait have been frequently misrepresented, the follow- ing statement of the facts, which is given upon the best authority, will be of interest, and is due as a matter of justice to those who are chiefly concerned:

Shortly after the outbreak of the European war there was an auction sale at Christie's for which many artists, Mr.

Sargent among others, gave pictures or drawings. Perhaps suggested by this incident, he was subsequently informed by the British Red Cross that an offer of the sum of ten thousand pounds had been made to it if Mr. Sargent would paint a picture of the proposed donor. Mr. Sargent naturally agreed. This offer afterward fell through, but was later taken up by Sir Hugh Lane, who was drowned on the Lusitania. By his will he left his collection to The National Gallery of Ireland, which generously respected his intentions with regard to The British Red Cross, paid the sum promised to it, and selected for the subject of the proposed portrait by Mr. Sargent, "The President of the United States."

It will thus be seen that in the last instance the order for the portrait at the price named went to Mr. Sargent from the

24 24

This content downloaded from 195.78.109.37 on Mon, 19 May 2014 01:53:31 AMAll use subject to JSTOR Terms and Conditions