The World's Art: Pittsburgh 1937

Abstract

THE 1937 Carnegie International, recently opened in Pittsburgh, presents an unexpectedly pleasing character—unexpected, because the contemporary mood of Europe would hardly seem conducive to the practice of the fine arts. Last year it was apparent in the work of many foreign artists that the shadow of war falling across their lives had dimmed spontanity and dulled creative energy. Logically, one would expect that present disturbed conditions of affairs would have extinguished whatever esthetic passion remained burning. Yet astonishingly enough the current exposition is marked by freshness and liveliness throughout. Spain's contribution, for example, constitutes one of the most interesting of the foreign sections. It is true that almost warlike maneuvers and a military convoy were necessary to get these works out of Spain, yet the fact remains that Spanish artists have gone on painting, whether they have escaped to calmer regions or have mixed their colors and set their palettes near battle fronts. Nor have these painters depicted scenes of bloodshed and horror (with one exception), but have chosen subjects in which their talents could most clearly find expression, centering on esthetic problems rather than political ones. The number of new artists whose work is included in all sections, doubtless accounts in some measure for the impression of unhackneyed treatment of familiar themes.