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By Lewis Mumford
Many of the topics Mumford addresses overlap with these of his extra time-honored architectural feedback: the guiding position of the prior in stimulating creativity within the current, the expanding congestion of the fashionable city, the alarming loss of human keep an eye on over smooth know-how, and the urgent have to repair natural stability to daily dwelling. notwithstanding he used to be open to new activities emanating from Europe, Mumford turned the manager recommend of a innovative American modernism that was once either socially conscious and officially inventive.
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Next highlights of the season incorporated exhibitions of Berenice Abbott’s images on the Julien Levy Gallery, which featured a portrait of Joe Gould, the idiosyncratic “oral historian” (“Mr. Bloom’s Anniversary—And a Disciple of Atget,” October 15, 1932); Mary Cassatt’s pastels on the Durand-Ruel Galleries (“Seventy Years—The paintings of Mary Cassatt,” November 12, 1932); the ﬁrst biennial on the Whitney Museum of yankee artwork (“American Paintings,” December 10, 1932); Georgia O’Keeffe’s work at An American position (“Paint and Stone,” January 21, 1933); and Maurice Prendergast’s work on the Kraushaar Galleries (“Impressionism and the Circus—Three Decades,” April 22, 1933). In June, Mumford concluded effectively his ﬁrst season within the twin roles of paintings and structure critic, his byline having seemed in virtually each factor of the journal. even though as a rule off responsibility from either columns throughout the summer time months, Mumford contributed a distinct “Art Galleries” in August on José Clemente Orozco’s strong work of art for Dartmouth College’s Baker Memorial Library (“The summer season Circuit,” August 12, 1933). sixty five 66 | T H E A RT G A L L E R I E S , 1 nine three 2 – 1 nine three three T H E TA S T E O F T O D AY it really is scarcely reasonable to allow autumn burst in upon us with out uttering a notice of thank you for 2 public exhibitions that are quickly to shut: one on the Metropolitan Museum and the opposite on the Museum of recent artwork. “The style of at the present time in Masterpieces of portray sooner than 1900” is either good-looking and inventive. Any pretext that brings to the Metropolitan a portray like “The Mountebank’s Family,” by way of Daumier, has good served its objective; yet this was once just one of an exceptional array that has been striking all summer time. comfort and ancient common sense often hold one from seeing at the comparable wall 3 photographs like Brueghel’s “Harvesters,” some of the most invaluable possessions of the Metropolitan; an outstanding nonetheless existence by means of Cézanne; and Delacroix’s “L’Enlèvement de Rebecca,” a scene out of Walter Scott. yet what an admirable eye and intuition placed them jointly! The work really appeared complementary—each nonetheless as clean as an apple clinging to a similar tree, that tree which Mr. Albert Jay Nock lovingly calls the good culture. no longer the least good thing about an exhibition like this can be that it units one analyzing once again what “the style of this present day” is, and, due to the fact that could be a topic for unending disputation, it tempts one to compose an exhibition of one’s personal. El Greco was once an inevitable selection; yet used to be Titian? real, the actual portray, “The Adoration of the Kings,” evidently used to be. during this composition, Titian taken care of the beams and posts of the barn with an analogous depth of curiosity because the Holy relatives itself—a completely passable layout, only if one acquiesced gracefully during this displacement of the topic. yet Titian is just not very on the subject of us; I must have hottest Piero della Francesca, or perhaps Giovanni Bellini, whose panorama in “The suffering within the Garden,” on the nationwide Gallery in London, makes him look interestingly modern.