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JPubd/dA.On exhibition this week and un-1 November 21 at the Dallas Mu-•um of Fine Arts is one of the nest collections of works by Tex-3 painters ever assembled. Rep-:sented in this group are such ell-known Texans as Jerry By-aters, Ed Bearden, Everett pruce (who recently won an hon-rable mention at the Annual Ex-ibition of American Painters and culptors at Chicago), and many :hers. In the main the works to a seen in this exhibition are rep-sentative of the regionalist school which most of these painters elong but on the other hand a ood deal of versatility in range f subject matter choice is evident, ollowing its Dallas showing the sllection will begin the first leg f a nationwide tour of large mu-lums. The first stop on this tour r ill be the new building of fine £ rts at the University of Texas, len it moves out to the west |iDast to be seen at the San Fran-isco Museum of Fine Arts. No efinite arrangement of exhibi-lons following these two has yet een made.Although his output is small ^ nd rather spasmodic, Dallas’ Wil- p( am Cole, whose most recent works re to be seen at the museum un-il November 21, is one of the fin-st painters of botanical subjects g working today. At one time he ^ eld a position for the University f Texas making such drawings tj-nd paintings for the botany de- f( artment; now his work is of a reelance nature. For his subjects lole chooses Texas and Southwest-rn flora, with which he is natur-lly more familiar. In his paint-ngs there is a sincere feeling for rtistic accuracy rarely seen in vork of this type, and strongly ontrasted to the mechanical and lull quality of most applied art.A group of gouaches by the lew York artist Renee Lahn will f, e on view until November 23. The g nonthly showing of photographs y members of the Dallas Camera Jlub is at the museum until De-:ember 5.One of the most interesting of ;he current groups at the museum is one of a series of political cartoons, originally published in New h Masses, by Boardman Robinson. Robinson has since become better known as a book and magazine illustrator but is also still remembered as cartoonist for magazines I of social or political significance. These cartoons are in the Print i Niche. 1Other current shows include early American silver, which runs until November 14, the Hoblit-zelle, Frick, Munger, and Howard 1 collections and the permanent col- I lection.A novelty in the way of exhibitions for the museum is now in session. This is the! presentation of an aggregation of photographs, drawings, and paintings dealing with progressive city planning. Accompanying this exhibition is a series of lectures on this subject of such vital interest to a postwar United States, and of such genuine artistic interest.Museum HoursSunday ..............................2 to 6 p.m.Monday ....................................ClosedTuesday................to 5 p.m.Wednesday ....................11 to 9 p.m.Thursday .................11 to 5 p.m.Friday ............................11 to 5 p.m.Saturday ........................11 to 5 p.m.Dallas’ art-loving individuals have the opportunity to witness at first hand an interest, though oft-repeated phenomena of the painting world. It has become a household expression that an artist never finds fame except posthumously. Hugh Breckinridge is undergoing the process of receiving posthumous recognition of his ability as a painter. An impressive group of the works of this man is on exhibition at the Sartor Galleries.Breckenridge was bom in Virginia, and at the age of seventeen went to study art at the Pennsylvania Academy. In 1891, having won a traveling scholarship, he went to France, where he-studied with Ferrier, Bouguerpau, and other prominent figures in the classical tradition of the French Academy masters following Courbet. He returned to this country in 1894 and joined the teaching staff of the Pennsylvania Academy. In Massachusetts he became the founder and guiding light of a group of Yankee regionalistically inclined and radical artists.Breckinridge’s most praiseworthy contribution to American painting was his precocious recognition of the value and influence of French Impressionistic color theories; nor was he so fanatically addicted to these French influences that he lost sight of his truly American heritage and temperament. Unlike most of the American painters, who at this time were becoming conscious of their French contemporaries, he was not narrow and dogmatic. In
Newspaper Details
Dallas Campus
Dallas, Texas, US
Wed, Nov 10, 1943
Page 2
Full Page
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Dallas G.
TX, USA 03 Jul 2024
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