File:George Luks - The Man in Blue.jpg

Identifier: internationalstu75newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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ness and immediacy of expres-sion, that it is related inextricably with thefundamental problem of aesthetic form, whypractically every artist since Cezanne has gropedhis way toward it in greater or less degree, con-sciously or unconsciously—an understanding ofall that is perhaps the first key to appreciation ofany branch of modern art. (NOTE ON THE ILLUSTRATIONS.—The cuts by Nolde andSeewald are taken from the catalog of an exhibition of Expressionistwoodcuts at the Hans Goltz Gallery, Munich. The designs by Orlik.Schnarrenberger, Unold and Ehlotzky are from Der Original Holz-schnitt, a book by Max Bucherer and Fritz Ehlotzky. recentlypublished by Ernst Reinhardt. The Gerbig cut is from the GraphicYearbook of the Fritz Gurlitt Gallery, Berlin, while the other threedesigns are from various magazines: that by Koch from Das Plakat,that by Dulberg from Der Weisse Reiter and that by Lange fromIHustrirte Zeitung l two Jijty-Jour JUNE 1922 mceRnAcioriAL Feature at National tbrtrait Shov/
Text Appearing After Image:
;■? THE MAN IN BLUE d i) yeo rqe Jju ks Although a portrait like The Man in Blue is distinctly novel, especialli whenit presents so modern a person as Mr. Luks subject, the artist has gained bis pointby departing from the conventional. The coat of vivid blue, broadly brushed in, ishighly successful in centering the attention on the hoc and on the incisive, vigorousdelineation oj contour. The picture was shown in the tenth annual exhibition oj theNational Association oj Portrait Painters at the Knoedlei Galleries, \t:< JUNE I C) 2 2 two fifty-Jive mceRnAcioriAL

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