Opinions

Homer Saint-Gaudens, Art Director of the Carnegie Institute of Pittsburgh and son of Augustus Saint-Gaudens, doughty and prolific chiseler of historical personages, last week stepped off a boat in Manhattan, recited some opinions on European Art.

Modern German Art. "Because of the fact that paintings are not really purchased in Germany any more . . . artists are creating essays on the neurasthenic horrors of existence. ..."

French Artists "are attempting to turn a perfectly natural desire for decoration into an intellectual exercise, which it is not. ..."

Modern British Art. "I believe that the English show a more genuine interest in Art than any other group in Europe. ... A visitor to the London Royal Academy, or the English Art Clubs, or the new Chenil Gallery venture, invariably finds them filled with visitors capable of comprehending what is hung before them on the walls. . . . Artists who will be represented in our exhibition: John, Orpen, McEvoy, Paul Nash, Philpot, Ernest Proctor.

Modern Italian Art. "Italian Art has grown rapidly in importance. . . . Not only will Italy be represented by such of its more widely known men as Tito and Mancini, but by others of the younger school . . . Casorati and Carona . . . and Romagnoli, who won the second prize at the Carnegie Institute last year."

Exhibiting no uneasiness about the validity of these generalities, Director Saint-Gaudens went on to describe the annual International Exhibition which will open in Pittsburgh in October. In addition to paintings from Spain, England, France, Italy, Sweden, there will be shown, for the first time since the War, a group of German and Austrian pictures. On the Jury of Awards will sit Anglada y Camarasa, Spanish painter; Ernest Laurent, French impressionist; Algernon Talmage, English landscape man.