Architect and engineer . fic criticism is more properly the prov-ince of a painter. I cannot refrain, how-ever, from expressing the hope that severalof these able artists will presently recoverfrom the Riberitis and (like one of ourmost talented sculptors) will soon be them-selves again. The 19th century ambition topaint as big as life and twice as naturalwas certainly a mistake; but does that war-rant the artists of today in painting twiceas big as life (in spots) and half as natural?Is not the imitation of the primitive just aspecial phase of that very periodism fromwhich modern art is strug
Architect and engineer . fic criticism is more properly the prov-ince of a painter. I cannot refrain, how-ever, from expressing the hope that severalof these able artists will presently recoverfrom the Riberitis and (like one of ourmost talented sculptors) will soon be them-selves again. The 19th century ambition topaint as big as life and twice as naturalwas certainly a mistake; but does that war-rant the artists of today in painting twiceas big as life (in spots) and half as natural?Is not the imitation of the primitive just aspecial phase of that very periodism fromwhich modern art is struggling to escape?Lisping in a childs first efforts to expresshimself can be charming; when afifected byan adult it can be distressing. There are several other factors which de-tracted somewhat from the ensemble effect;—attention is called to them to emphasizethe importance of details and not in anyspirit of fault-finding. Down the center ofthe hall there are three stands for small 38 0)Q ARCHITECTAND ENGINEER, May, 1930. Window Painted on Glass by Florence Alston Swift Window Painted on Glass by Marion Simps( Window Painted on Glass by Frank Bergman objects dart; these stands are illuminatedby tubes of white Neon light along thesides, and large octagonal lanterns in thecenter. The Neon tubes have been properlyshielded but the glass from the lantern notonly provides poor lighting, but also weak-ens the focal efifect of the glass fountain inthe garden and detracts from the generalcomposition. The garden at the end of thehall, although interesting in design andflower arrangement fades out at the topas a composition and does not dominate theroom to the extent that its terminal posi-tion demands. This end opening, occupy-ing a position analagous to that of the apseof a church, is framed by far the largestpicture in the room, a picture whichshould have been a powerful unit. How-ever, due to defective lighting or lack ofconsideration for ensemble efifect in design, the garden clubs e
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