On Shipboard

Educators have long deplored and humorists ridiculed the ways of the U. S. tourist among foreign art centres. After a restful week at sea, he despatches the Louvre in two trips of three hours each and says: "I could have done it in 20 minutes with spikes on!" So too through Rome, Florence, Vienna, Munich, Dresden, Berlin, Brussels, Antwerp, London. At last, duty done he embarks for home and another week's rest at sea. In short, the only period of that leisure which is so necessary to enjoyable contemplation of art is spent at sea where, usually, there is none.

Why not, then, bring art aboard ship? Here a man rests his eye upon an expanse of rolling blue, strolls the deck a few times for stimulation, seeks about for some object of interest and finds he just has to look at the pictures in the salon. Since there are not too many pictures, each must be studied. Studied they are appreciated, just as are the pictures hung in a gentleman's private gallery. The artist exhibiting under these conditions finds them ideal for a sale--he has a proper display, his prospect the proper attitude, and usually, aboard fine steamers, the proper purse.

Realizing this, the Grand Central Galleries of New York held an exhibition early this summer aboard the Belgenland, showing landscapes, portraits, studies by contemporary U. S. artists (Murray Bewley, Ettore Caser, Gerrit Beneker, Lilian Westcott Hale, Hosvep Pushman, Paul King). Other ships have followed in the wake. The Aquitania became a nautical gallery by bringing to the U. S. Mrs. Dod Proctor's "Morning," the most notable painting in this year's Royal Academy show, for a short visit. The Hamburg-American liner New York exhibited last year the collection of the 15th Century canvasses which had hung in the National Arts Club, Ambassador Myron Timothy Herrick sponsored a show aboard the French steamer Paris. Other boats which now float picture galleries: Leviathan (U. S. Line), Santa Luisa and Santa Elisa (Grace Line), Colombia (Panama Mail Co.).