Two Exhibits

Two nationally important annual exhibitions opened simultaneously this month. These were the 119th display of oil paintings and sculpture of the Pennsylvania Academy of Fine Arts, Philadelphia, and the 39th showing of the Architectural League of New York.

The latter exhibition is invariably noteworthy because of its astounding juxtaposition of various forms of Art. Mural decorations, statuary, iron work, factory stacks are united in democratic display. But all this hodgepodge falls into the category of applied art, lending the work a unity and significance particularly interesting to the casual observer. Here one finds that art is ready and eager to invade every field of human activity, social and industrial, awaiting only the growth of an understanding populace.

It is apparent that the big industrial concerns are realizing that artistic surroundings are a business asset bringing real returns to the investor, not only through the increased interest of customers, but also in the improved morale and efficiency of employees. Some fine examples of commercial buildings are found at the exhibition, among them:

The Chicago Tribune Building, designed by Howells and Hood;

The Bush House in London, by Helmle and Corbett;

The Standard Oil Company's Building, New York, decorated by Mack, Jenney and Tyler;

The General Motors Corporation, Detroit, by Albert Kahn;

The American Radiator Building, New York, by Raymond M. Hood;

The Postum Building, New York, by Cross and Cross.

The value of an artistic factory product is also stressed by exhibitions of bronze and iron work and the beautiful feiance panel, designed and executed by the American Encaustic Tiling Company for the Oppenheim, Collins Building.

The Architectural League has also recently awarded a medal to Henri Creange, of Cheney Brothers silk manufacturing concern, for the best work in the furthering of industrial art.

Social surroundings have not been ignored. There are fine examples of residential architecture, many mural paintings, garden statues.

The exhibition of the Pennsylvania Academy is not so interesting from a practical point of view, but is signalized by its departure from the usual conservative atmosphere of former years. The general character is colorful, modern. Though no one picture stands out preeminently, the standard is high and the artists represented are numerous. Six hundred and forty canvases were accepted out of the thousands sent in from all parts of the country. This modern turn to the Philadelphia show is due to the unusual jury headed by Hugh Breckenridge. The prize went to William J. Glackens for his Nude.