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WORLD TELEGRAM SAT. OCT 15TH 38 EMILY GENAUR New Shows Dominated By Sculpture There's a flock of new exhibitions of varying interest around town. The majority of them happen to display sculpture. Of these Lovet-Lorski's exhibition at Wildenstein's, will possibly command most attention. (The fact that it consists entirely of portraits, that most of the subjects are well-known socially or professionally, that the sculptor is a highly skilled technician, and that he is highly publicized as well, explain the broad interest in his work.) Lovet-Lorski is, in truth, a master technician. He can abstract from stones of all sorts the most extraordinary textural warmth and life. He can organize his forms into decorative, arresting compositions invested with rhythms that are superficial, however, rather than plastic. He also does a neat likeness. His things just don't have the sculptural strength, the inner life, the essential character of true and inventive sculpture. Group Show at Arden. The Arden Galleries are opening their season with a group show of contemporary sculpture, and though most of the objects it contains are decorative or monumental pieces, rather than portraits, much the same things may be said of them that apply to the Lovet-Lorski heads. The sculptors included in its number amont them Cornelia van A. Chapin, Gleb Derujinsky, Wylande Gregory, Malvania Hoffman, Anna Hyatt Huntington, Lovet-Lorski himself, Paul Manship, Carl Milles, Heinz Warneke, Wheeler Williams, Sylvia Shaw Judson, Nathaniel Coate and others. Skilled Craftsmen. All are extremely skilled craftsmen. All have superb taste. Some have wit and a degree of imagination, specifically as applied to subject and arrangement (among them Sylvia Judson, responsible for four charming studies of children, each representing a season of the year). But practically no one in the show, or, shall I say, in the specific work represented in the show, displays any degree of sculptural imagination. None have tried to find a new way to express "Young Love" or "American Womanhood" or "Agriculture" or the other subjects they have chosen. None have tried to manipulate forms so that structure is evolved with its own life, its own rhythms, its own character. Choate comes close to it in his beautiful alabaster figures, "Pegasus" and "Centauress." Marshall Frederick's "Juggler" is an original work. But most of the others are the stylish, decorative, extremely facile, capable sort of things that make such acceptable garden monuments, fountains, and incidental ornaments. THE ART DIGEST Parade of Contemporary American Sculpture CONTEMPORARY AMERICAN SCULPTURE from monumental pieces to small figurines comprises the current show at the Arden Galleries, New York, the direction of which has recently been assumed by Mrs. Theodore Roosevelt, Jr., and Kendall Mussey. More than a score of well known artists have contributed 45 peces of portrait, garden, mural and animal sculpture. Boris Lovet-Lorski, who is having a one-man show at the Wildenstein Galleries, is represented by a larger-than life-size marble Venus, rising gracefully nearly to the top of the room. Carl Milles has sent a cast in iron of his head of Orpheus, the central figure of his fountain now standing in front of the Concert House in Stockholm. Waylande Gregory exhibits two terra cotta heads of Negro females, one of which, a Blues Singer, represents a new achievement in this artist's unceasing originality of conception. Anna Hyatt Huntington, one of the best known contemporary animaliers, has sent two playing Greyhounds, lithe creatures whose muscles and bones play a rippling rhythm over the surface. A study in American Manhood and American Womanhood by Gaetano Cecere in plaster represents the more modern American architectural sculpture. A huge flat Tortoise in bronze and a smug Resting Pelican in marble are by Cornelia Van A, Chapin, while endearing animals by Heinz Warneke, classic motives by Sidney Waugh, little bronzes of animals by Albert Stewart, all add to the wide range of appeal of the show. Other artists included with works that are representative are: George W. Blodgett, Nathaniel Choate, Anthoney de Francisci, Gleb Derujinsky, Malvina Hoffman, Sylvia Shaw Judson, Harry Kreis, Edward Mc Cartan, Paul Manship, Marion Sanford, Wheeler Williams, and others. October 15th 1938 N.Y. SUN OCT.15 1938 MELVILLE UPTON The reorganized Arden Gallery, 450 Park avenue, in the direction of which Mrs. Theodore Roosevelt, Jr., is actively engaged, has put forward as its opening display an exhibition of the work of twenty-one contemporary American sculptures. It is purposed to follow this by similar exhibitions of painting and sculpture, the studio devoted to interior decoration and kindred arts being discontinued. by way of an innovation a small gallery has been set apart for the display of the work of promising young artists who are unable to finance exhibitions of their own. Needless to say, with the limited space at its disposal, the management has its work cut out for it in separating the sheep from the goats in this laudable undertaking. But then, good intentions always have their ordeals. With so many talents represented, the present sculpture display is naturally widely varied both in subject matter and approach. It is unified only by clinging to the easily understandable; there are none of those incursions into the ultra-abstract that keep all but the most aesthetically alert and intuitive either guessing or defensively scornful. Marshall Fredericks-figures, a Crown Derby urn and cover, and English crystal lamp and Toby jugs. Sales will be conducted by the Messrs. E, P, and W.H. O'Reilly, and E.P. O'Reilly Jr. Home Furnishings, Paintings. An interesting sale will be held at the Coleman Galleries Thursday, Friday and Saturday (October 20, 21 and 22) at 1 P.M. each day for several estates as well as numerous private consignors [[illegible]] White P[[illegible]],
