Violet Ray

From many parts of Europe come reports of the unearthing of original paintings of old masters. The public is skeptical. Wherefore, France and the world of science contributed last week a new practical test for the discovery of fakes. Ultraviolet rays and colored lights thrown upon the paintings under suspicion show, when photographed, the method of brush-work and the exact kind of pigment used by the artist.

The electric rays will "stabilize the art business," say dealers.

National Gallery

France has its Louvre, Britain its National Gallery, but "the homeless masterpieces of the U. S." have nowhere to hang. The outcry for a national gallery at Washington has already resulted in the subscription of $10,000 to pay the architect's bill. Now the drive has begun in earnest, Congress having donated the site. The drive is conducted by 350 branches of the American Federation of Arts.

Individuals in charge include Gari Melchers, Virginia; Herbert Adams, Herbert L. Pratt, New York; Frank J. Mather, Princeton; A. Kingsley Porter, Cambridge; Edward W. Redfield, Pennsylvania; Joseph H. Gest, Ohio; W. K. Bixby, Missouri; James Parmelee, Washington.

Seven million dollars is the estimated cost. Tradition in the U. S. speaks against raising the sum by taxation. The nation must hold out its hands to private subscription.

From Japan

A collection of Japanese paintings at 65 East 56th St., Manhattan, is being sold for earthquake relief. Some are done on silk. One, named Horror, portrays Tokyo burning.

Handbook

Art in Our Country is a new handbook listing alphabetically 672 cities and towns in the U. S. which have works of art worthy of note--be they museums, monuments, buildings, paintings. This book, the only one of its kind, is published by the American Federation of Arts.

Stunt

Mahonri Young, sculptor, gave proof "to the public" at the Anderson Galleries, Manhattan, that art is a trade and a craft and that "there is nothing mysterious about being an artist." Before 300 amused spectators he worked 50 pounds of wet clay into "a sketch of Joseph Peennell," etcher (TIME, Jan. 14). Both chatted continuously.

In Philadelphia, Mr. Pennell addressed an eminent group at the Print Club. Said he: "You couldn't build anything worse than your City Hall, but you won't build anything better. It's the worst possible stone pile in any city in the world!"

Jo Davidson

Something has happened to the work of our great sculptor. He always had the knack or the genius of catching likenesses--e.g., in busts of mighty soldiers and statesmen 'during the War and when he was at the Peace Conference. Now he is doing busts far beyond mere "war documents." He is catching personality, catching beauty.

Jo Davidson returned from France still an impressionist, but revealing a keener conception of form, an uncanny power for loveliness. His exhibition at the Fearon Gallery was an event of great consequence.

Great people honor Jo Davidson by sitting for him, and they are honored by him in the result. A few:

Anatole France

"Mother Jones"*

Chaliapin

Tchicherin

Krasin

Charles G. Dawes

General Pershing

Dr. Wellington Koo

Dr. Emile Coue

Miss Gertrude Stein

Frank A. Vanderlip

Senator LaFollette Woodrow Wilson

"Uncle Joe" Cannon

Walter H. Page

Colonel House

George Brandes

Ferdinand Foch

George Clemenceau

Israel Zangwill

Lord Robert Cecil

Arthur Balfour

Joseph Conrad

Recently he came to youth, did busts of Miss Barbara Whitney, and of her sister-in-law, Mrs. Cornelius Vanderbilt Whitney. Versatility of technique is a characteristic of Davidson. He has taken what he wants from the art of other lands, mellowed a style of his own.

Davidson attended the Peace Conference "to study faces." One day he forgot his pass, acted as messenger in order to enter the room! That same day he interrupted the Conference to get a good look at Clemenceau.

"His chunky form rose higher and higher, until suddenly a voice cut sharply through the deliberations of President Wilson, Lloyd George and the rest:

"'Sit down! Sit down!'

"Peacemaking paused while the Allied statesmen turned to watch an embarrassed artist of international reputation subside into his seat. A few rows back of him a flushed Emporia, Kans., editor--of similar reputation-- likewise dropped down into his seat, amid audible whispers of 'Good for you, Bill White!'"

*"Mother Jones," aged 93, of the American Federation of Labor, has had a part in nearly every important strike in the last ten years.