Word: artes
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Dates: during 1930-1939
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Indirectly another even richer woman sculptor was important in last week's art news. Mrs. Gertrude Vanderbilt Whitney, resting from her own labors since her exhibition at the Knoedler Galleries eight months ago, opened the Third Biennial Exhibition of U. S. artists at the Whitney Museum of American Art...
...statues by 123 U. S. artists, submitted by invitation only, went up on the Museum's walls. Present was practically every well-known name in modern U. S. painting, with the possible exception of Thomas Benton. Perhaps he had nothing ready to show. Differing from most mass art shows, the Whitney Biennial has no jury, offers no prizes, but the Whitney offers far more practical rewards by buying from its large endowment a great many more pictures from each Biennial than it ever expects to hang permanently on its walls. Critics rooted loudest last week for a portrait...
...threat on the Crimson goal. A blocked kick resulted in their possession of the ball on the 3-yard line. There the Jayvee defense became airtight, and the ball was captured on downs. Yale's subsequent attempts to pierce the secondary with passes usually ended in interceptions, and Coach Art Lane was given an opportunity to inject letter-earning substitutions...
Picasso. While the appearance of a full-size study for Henri Matisse's greatest mural made headlines last week (see above), his greatest rival in the field of modern art, Pablo Picasso, was honored by three shows at once. When both of them were young rebels in Paris, it was Painter Matisse who coined the name "Cubist" for the angular painting of his rival. At the Museum of Living Art, pretentious name for the important collection of modern painting that public-spirited Albert Eugene Gallatin has presented to New York University, there appeared The Three Musicians,* a semi-abstract...
...Also worthy of any gallery-goer's attention was a Derain show at the Brummer Gallery, a Reginald Marsh exhibition at the Rehn Galleries. Bushy-lipped walter Pach laid himself open to the annual attack of fellow art critics by showing his most recent water colors at the Kleemann Galleries. Durand-Ruel went down to their cellars and produced about a half million dollars worth of Renoirs, and at the Gallery of American Indian Art, a show of water colors went on view by the darling of Santa Fe's art colony, the plump and talented Pueblo squaw...