COLOR PREDOMINATES IN MOWER EXHIBITION

The following review of the current exhibition at the New Fogg Museum of the paintings of Martin Mower '01, was written for the Crimson by Leo Rabinovitz 1G.

We are greeted at the New Fogg Museum with an exhibition of oil paintings, pastels and water-colors which present to the public an opportunity to study and admire the work of Martin Mower '01. Color that is striking and beautiful plus tonal qualities that are skilfully devised are rendered with a delicacy of treatment.

For those who see a good deal of the paintings of artists today, there is a relief in Mower's work from the harsh informality and ill-representation of color so evident in the studios, where we can often find heaps of large and small panels, some very interesting, but which to a large extent are loosely painted and "up in the air." In "Sanks Road, Maushon" we see a daring attempt with red which is very attractive but the cool blue of the water color in the sky and the yellow toned trees mingle triumphantly in the spectator's eye. The picture hangs together while the predilection for red is an added attraction.

On the other hand in the "Fountain of Trevi" we find tones that contrast and mingle and as a result create an atmospheric sensation. The cooler tones are employed on the figures of a fountain while the warm yellow and orange of the palazzo in the background are contrasted to the former with successful result.

Portraiture is Interesting

In the art of portraiture we find several examples that are worthy of attention. The portrait of "Hervey Wetzel" is one of the best with its fine composition, line, and tonality. It is a three-quarter length in profile against a silvery grey background. Henry Wetzel is seated on a chair, the outline of which is a soft undulating line. The splendid contrast of this with the hard vertical lines in the background adds aesthetically to the pictures. The eye also follows diagonal lines all of which form into a well balanced composition. The features themselves are obviously well done and strongly painted. In "Mrs. Gardner's Portrait" in the Gardner Museum the same treatment is evident.

Color is Experimental

It would be an error and inconsistent to neglect that part of Mower's artistic sense which is in nature, experimental. His color often may be labelled under this term. It is with significance that one reminds himself of the important place the experimental approach took in the lives of Manet, Monet, Cezanne and still more recently in Bellows in the "Archery Party" there is a experimental study with the palette and stype of Gainsborough with due success. The figures in this scene are skillfully painted with the use of the palette knife in order to give to them their characteristic ostentatious appearance. The English scene "Punting" is mellow toned with a richness in quality in spite of the limited palette. From a difffferent point of view an experimental note can be found in the water colors of grave yard scenes. Though color is generally interesting to associate it with grave stone is uncommon. The same idea is to be found in one of two decorative pictures, painted to harmonize with a specific room.