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Show (florins WMfo Mm (unaillMy Wmrlk . . 1 Current Art Exhibit Discussed By High School Art Curator Glen Turner, Art Curator, Comments On Paintings In Art Show And The Effects Of War On Art In General By GLEN TURNER A discussion of art and pictures when our whole nation is geared to the fast-changing tempo of war may seem a trifle untimely. When one considers, how- ever, the basic principles underly- ing the present conflict, such, a discussion dis-cussion is more understandable. Today the United Nations are fighting for certain basic freedoms free-doms that they consider to be the right of every man. Artists have always demanded the right of free artistic expression. Whenever in the' history of the world artists have been denied or restrained in their right to paint or model or create according to their own best ideas, that period in world history has suffered, artistically speaking. speak-ing. On the other hand, whenever civil or religious governments have allowed the free, vigorous expression of the artistic genius of its people, the art of the time has flourished. The domination of its artists by the Axis may well make America the very heart of future world art and culture; The destructive forces in Europe today have caused, the influx in America of many of the finest of the old master paintings. Many of Europe's foremost artists as well as scientists have fled to the United States as a refuge from oppression. Our exhibition this year is an outstanding example of the freedom free-dom from restraint in American art. One needs only to walk leisurely leis-urely through the galleries without paying particular attention to individual indi-vidual artists or paintings to realize real-ize the variety of subject matter and modes of expression in America Amer-ica today. A more careful examination exam-ination of individual pictures will only substantiate this realization further. For example, at first glance into the east gallery one is immediately attracted to the large painting "Homeward Bound," by William R. Leigh. This picture is an extremely fine example of realistic real-istic or naturalistic painting. It is a simple Indian Pastoral scene depicting de-picting an Indian woman on a horse and a young Indian boy on the ground, driving their flock of goats home at evening. The picture pic-ture is an interesting composition in light and dark and its brilliant orange tones dominate the entire east wall. Other extremely fine examples of this naturalistic or realistic mode of art expression are to be found throughout the galleries. To mention a few: the large Indian portrait by J. H. Sharp in the center of the north wall in the east gallery, the self-portrait self-portrait by Leopold Seyffert on the south wall of the same gal- lery, and "The French Peasant," by Jane Freeman, are all outstanding out-standing illustrations of this type of painting. In direct contrast to these we find such paintings as "The First Born," by Millard Sheets, that hangs in the center of the west wall in the south gallery. In this painting the realistic elements of the picture have been reduced and subordinated in order to bring out the general design scheme. The entire picture is an interesting monochromatic study in various tints and shades of blue. The emphasis em-phasis is placed on an unusual arrangement ar-rangement of rhythmic spiral lines. Still another variation in artistic artis-tic expression is found in the staccato stac-cato modern by Raphael F. Gleits-man Gleits-man called "The White Dam." It hangs in the center of the south end of the south gallery. This picture pic-ture is interesting in that it contains con-tains a series of sharp contrasts interspersed with flashes of bril-(Continued bril-(Continued on page eight) CURRENT EXHIBIT DISCUSSED BY ART CURATOR (Continued from page one) liant color. The edges of objects are sharp and crisp. The general line scheme is angular and erratic. Evidently the artist was attempting attempt-ing to capture some of the roar, the noise and confusion that surrounds sur-rounds the construction and operation opera-tion of a large dam. A newcomer this year with an individual outlook both as to subject sub-ject matter and handling is Paul Starret Sample, with his unusual study of a circus clown that hangs on the south wall of the east gallery. Leon Kroll, Robert Brackman, and George Elmer Brown are all represented in this year's exhibit, exhi-bit, each lending to the show his particular reaction to nature, each entirely different and yet all good. Dean Faucet is represented this year with a powerful and strongly painted landscape. Other paintings well worth thoughtful consideration are those submitted by William Keith, Edna Reindel, John F. Carlson, Jay Con- naway, niiim u' 'f-' ber, and many others, and don t overlook the many fine contributions contribu-tions by our own Utah painters. From the above brief mention of the variety and quality of the paintings in our spring show, we have living proof of the art accomplishments ac-complishments of a free culture. This year's exhibition and the opportunity op-portunity of viewing and enjoying it at will is a testimonial to America's Am-erica's cultural ideals. Intelligent advertising is an aid to merchandising everywhere, even in Springville. |
