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ARDEN CALLERY. OcT 11  Nov. 5
N.Y. Times. Sunday OCT 16. 1938
10x ART

A REVIEWER'S NOTEBOOK 
Whitney Museum Shows Work by Western Artists-Sculpture to the Fore 
By HOWARD DEVREE
SCULPTURE, a few years ago so sparsely represented in gallery exhibitions, now comes forward despite the earliness of the season in three current shows. At the Arden, newly reopened under joint directorship of Mrs. Theodore Roosevelt Jr. and Kendall Mussey, a group of more than twenty sculptors has been invited to show and a wide diversity of pieces by some well-known artists is the result. The heroically forceful cast iron head, "Orpheus," by Carl Milles, is perhaps the most impressive single work, its individuality emphasized by the fact that it faces the sinuously graceful bronze "Venus" by Boris Lovet-Lorsky, across the gallery. Heinz Warneke's dull gilt bronze, "Indian Head," and the deer and monkey by the same artist; Waylande Gregory's arresting  "Colored Singer"; Gleb Derujinsky's glumpy "Beethoven"; Nathaniel choate's alabasters, "Centauress" and "Pegasus"; and Cornelia Van A. Chapin's "Pelican in Repose," awarded the Diplome d'Honneur in the American pavilion at the Paris International of 1937, are other unusually interesting pieces. Paul Manship, Wheeler Williams, Albert Stewart, Malvina Hoffman, Anna Hyatt Huntington are others represented in this  predominantly decorative exhibition. Till Nov. 5.

Royal Cortissos 
Some Recent Sculpture 
AT THE Arden gallery there are about two-score pieces of contemporary sculpture, forming an exhibition of attractiveness and value. One artist in the company Marshall Fredericks, gives his two figures a bizarre turn, and there are a few examples of the stylization which has so often tinctured our sculpture in recent years. The collection as a whole reflects a cheering fidelity to the legend of Saint-Gaudens, Olin Warner and their followers. Saint-Gaudens, the greatest of our masters, had among his many qualities a pronounced feeling for decorative felicity, and this, to be sure, is not conspicuous among the sculptors  here represented. There are indications, on the other hand, that the beauty and dignity of form whoch meant so much to him are not forgotten. There ingredients are visible in Edward McCartan's "Bather," in which classical severity is tempered by renaissance naturalism and both are unified through the action of style. This is a distinguished and lovely figure, a true work of art. There are other good nudes presented on this occasion, the marble "Torso" of Boris Lovet-Lorski (a more satisfying thing than his big bronze "Venus") and then there is the graceful "Diana" of Marion sanford. Malvina Hoffman sends a fascinating little study of  form in action her "Brenton Wrestlers." There is an admirable linear quality in the "Reclining Male Figure," a design in low relief, by Sidney Waugh. 
Several works of imaginative import add to the interest of the exhibition- Malvina Hoffman's "Incipit Vita Nova," Gleb Derujinsky's "Pieta," which has a kind of touching medievalism about it, and the heroic "Head of Orpheus," by Carl Milles. A photograph revelas the picturesque group at Stockholm, of which this is a fragment. The head, isolated, necessarily, loses much yet it preserves an extraordinary animation. It is the most realistic possible embodiment of Orpheus. The features positively pulsate with life.  It is hardly of life what Gaetano Cecere's "American Manhood" speak. Their symbolism is too prosaically stated. The sculptors of animals and such-like make helpful contributions-Anna Hyatt Huntington, with her daintily prancing "Grey-hounds," Heinz Warneke and his "Deer" in relief and his diverting "Monkey," Albert Stewart with his adorable "Dachshund," and Cornelia Chapin with her likewise enchanting "Pelican in Repose." There are inevitably, a number of heads, well modeled portraits by George W. Blodgett, Gleb Derujinsky, Boris Lovet-Lorski and Wheeler Williams. Obviously this is a varied exhibition, and on every side it makes manifest finished craftsmanship. It is one of the most auspicious incidents of the opening season. 

N.Y. Tribune 
Sunday OCT. 16 '38