File:Brooklyn Museum Quarterly (1916) (14589865639).jpg

Identifier: brooklynmuseumqu46broouoft (find matches)
Title: Brooklyn Museum Quarterly
Year: 1916 (1910s)
Authors: Brooklyn Institute of Arts and Sciences. Brooklyn museum quarterly
Subjects:
Publisher: Brooklyn
Contributing Library: Gerstein - University of Toronto
Digitizing Sponsor: MSN

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lor, but far surpasses in thoughtful depth andpoetic imagination. . . . Anisfelds success in Paris as a poet-painter of landscape coincided withhis earliest triumph in Petrograd as an innovator in stage scenic decoration.From that day to this he has maintained his dual artistic role, supplemented withsome highly original experiments in portraiture. In all his work, broadly modernand unscholastic as it is, you find the same Slavic intensity, doubled with asmoldering passion of color revelry that is all of the gorgeous East. His largedecorative scene-pictures have the magic atmosphere of the true spectacle derfeve, embodied in the most daring combination schemes of blue-green, orange-green, crimson-scarlet, rose-green and gold. In his smaller and more syntheticcanvases, such as make up most of the hundred-odd paintings now shown inBrooklyn, the Byzantine and Asiatic effects are singularly softened by that-ecstatic ikon mood of the monastic primitives—the mystic ciel-blue, pale gold 16
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PORTRAIT OF CHALIAPINE. and vermilion prayer-picture emotion of Giotto and tiie early Florentines, whichalso, paradoxically enough, seems to he a heritage of some latter-day Russians. There is nothing morbid or decadent about Anisfeld. His occasional ab-straction, his frequent simulation of a rude and artless simplicity, are really thestudied modernistic subtleties of Cezanne and Picasso—about the only contem-poraries whose influence he acknowledges, and these only by indirection. Forhe is an accomplished academic draughtsman, as his watercolors and black-and-white illustrations prove. The first impression made upon the visitor by this Brooklyn exhibition is oneof bewildering exotic splendor. In a way it is like that of Zuloaga, though sucha comparison would be misleading because Zuloaga is nothing if not racial andHispanic, whereas Anisfeld is at once the essence of Slavonic and widely ele-mental as the skies of sunset or dawn. He can he occidental as well as oriental. 17 For conce

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