ROSS PAINTINGS SHOW SCIENTIFIC THEORIES

The following review of the exhibition of the paintings of Dr. D. W. Ross '75, opening today at the New Fogg Museum, was written for the Crimson by M. L. Meiss 1G.

At the Fogg Art Museum, opening this morning, is an exhibition of the paintings of Dr. Denman W. Ross. The paintings have a two-fold interest; in addition to their intrinsic merit as works of art, they have been produced as illustrations of the theories which Dr. Ross has developed in his scientific study of colour, representation and design, and which he has published in his well-known books, On Drawing and Painting, and The Painter's Palette. It is obvious, at once, that these two points of view and interests are really one. It is because of Dr. Ross understanding of the craft of painting, and because of the consistent and intelligent application of his theory of design that he has produced work of such unusual interest.

The paintings, numbering over 80, include portraits, landscapes and still life subjects. They are unusual on account of their technical excellence. Dr. Ross' brush is the servant of his understanding as well as of his emotions. He gives us the keen satisfaction of a beautifully finished and ordered performance. Not confined to one particular mode of expression, he ranges freely and easily from one to another. It has been his aim to understand and to practice the different modes of the art as they have been developed by the reat masters: the mode of outlines and flat tones; of low relief, of full relief, and of realistic representation of what we see as we see it. His idea is that the modern painter may use one or another of these modes as it serves his purpose. To understand these modes we must study the work of the masters, in which we find not only our modes but our standards.

The little pictures of the White Church of Arequipa, Peru, and the Churches of Cuautla in Mexico are fresh and charming, and the Canal View done in Venice recalls Corot's sketches of Rome. The Boy Reading and the Musicians suggest the full chi, aroscuro method of Velasquez. There is an interesting and spirited copy of the Olivarez of Velasquez. To emphasize Dr. Ross' relation to the great masters is certainly not to deny his originality but rather to praise his achievements which are rooted in a study of the best precedents of the past.

The picture of the Lady Sewing is permeated with a sweet sentiment and a dellcate tenderness. The organization, both in design and in color is remarkably stable and satisfying. The picture suggests the light and colour of Vermeer, and was certainly produced under his influence. The exhibition is clear evidence of an interest and delight in nature, life, and art.