the rest of us might follow to our advantage.
The works by Taylor and Levi, William Lawrence Bottomley, Frank Forster, Eugene Lang, are of unusual interest. All these are in decided contrast to the work from Philadelphia which, while excellent, shows a monotony and constriction in thought, and in which freedom in design is absent.
There is an absence of color in the exhibits, a drabness that tends to make a successful exhibition
difficult. Also, immense stretchers with gray and buff photographs are not easy to arrange nor are they particularly pleasing or effective upon the walls, and they cause the “skying” of exhibits.
That which is true of architecture can be said also for painting and sculpture, in which the same tendencies are in evidence. It is a hopeful sign, however, that more and more each year there is shown a growth in the individual and creative work exhibited over that which in the past has been merely work of good taste and scholarship.
It is to be hoped, therefore, that these exhibitions in the very near future will become more truly a reflection of our time and its civilization.
ˮSADKOˮ — HARRIETTE G. MILLER, SCULPTOR
CASA ITALIANA, COLUMBIA UNIVERSITY, NEW YORK McKIM. MEAD & WHITE, ARCHITECTS
STAINED GLASS WINDOW
ALFRED E. FLOEGEL, DESIGNER