Collections and Critiques

The following critique of the current exhibition at the Harvard Society for Contemporary Art was written for the Crimson by E. F. Noyes '32.

The current exhibition at the Harvard Society for Contemporary Art is unusually interesting in that it affords an opportunity for comparison of the work of several countries in the line of contemporary etchings, wood-cuts, and lithographs. Largely a black and white exhibition, there are a few colored prints in the foreign group.

In general, the tendency of France to outstrip America and England in modernistic productions is apparent. Marie Laurencin, whose covers of Vanity Fair are known in this country, has a few color lithographs which are really mid-Victorian in comparison with some of the work of her countrymen. Pablo Picasso may be seen in two colored etchings which are characteristic of his latest and more incomprehensible moments; George Braque and Andre Lurcat contribute to the confusion of one who would like very much to understand. On the other hand, Jules Pascin, whose career among the sordid elements of Paris closed but recently has several strange yet interesting pieces on display. Four heads by Andre Derain complete the French side of the exhibition.

Howard Cook, an Englishman, is responsible for some of the most interesting work on display. In particular, his "Canyons" is a very capable piece of etching, and quite as forcible is his impression of "Skyscrapers." John Nash, also an English artist, concentrates more on the design, abstracting the subject matter to fit this composition, and has succeeded in making some very pleasing small etchings. A head by Pechstein is the only blatantly modern piece of the English display.

Turning to the American group, which comprises more than half of the total show, a superabundance of foreign names makes one look up now and then for the reassuring sign stating that these are Americans. Best Known in this company is Rockwell Kent whose four drawings are in his usual striking style. One, a lithograph entitled "Pinnacle" combines softness with great power, and is the best of the four, although "The End", a woodcut, has a great deal of force. Louis Lozowick contributes more drawings than any one other artist, and his work is very capable. His lithographs are of such scenes as building construction, trains, bridges, and ports. Making use of the full range of light effects which his medium allows, he turns his subjects into delightful black and white near-abstractions which show only the idyllic side of his industrial subjects. In "New York" he steps farther into the realm of the abstract to give an impression of the city in a pleasing design. Wanda Gag seems to be impressed with the irregularity of the physical world, and turns out some work with a great deal of character to it.

Humor is not lacking in mild forms. George Biddle, in a light composition entitled "Bringing Home the Cows" has contributed a highly entertaining piece. "Lohengrin" by Adolph Dehn will raise a smile, while his other lithograph, "Pont St. Michel" is a really striking piece of work, containing a great deal of feeling.

Nothing in the exhibition is quite similar in technique to two pictures by William Little field, rough drawings enforced with lithographic pencil in strong strokes, the result being clean cut and powerful drawings, admirably suited to the subject matter. Numerous other contributions complete one of the more interesting exhibitions of the year.