165
"Ibelievethattoarriveatasortofuniversalmetaphor—andstilltocommuni-
catewithcompleteself-expressioninpaint—theartistmustapproachhiscreation
withadeterminationtoavoidtheformula,therate,thepreconception.Heshould
strive,aboveall,tosimply'letitcomeout.''Style'isapttosufferfromsuchacon-
cept.Butitseemstomethat'style'shouldonlyreflecttheparticularexpressionof
theparticularpicture.Itisquitepossiblethatonewillneedadifferentstylenext
time.The'unpredictableinevitability"willdecidethat."
JohnAthertonwasborninBrainerd,Minnesota,in1900.Histrainingasastudent
includedworkattheCollegeofthePacificandtheCaliforniaSchoolofFineArts.
HehasalsospentsometimeinNewYorkCity.Atherton'sillustrationshaveappeared
invariousmagazinesandhehasbeengivenawardsinpostercontests.Otherhonors
includeprizesattheBohemianClubinSanFrancisco, 1926;ConnecticutWater
ColorSociety,1940;andthe.-XrlistsforVictoryShowinNewYork,1942.One-man
exhibitionsbeganin1928.Paintingsby.'\thertonformpartofthecollectionsof
severalinstitutions, amongthemtheMetropolitan Mu.seumof Art,Museumof
ModernArt,andtheWhitneyMuseumofAmericanArt,NewYork;Wadsworth
Atheneum,Hartford,Connecticut;PennsylvaniaAcademyoftheFineArts;Albright
ArtGallery,Buffalo,NewYork;andtheArtInstituteofChicago.HelivesinArling-
ton,Vermont.
AVERY,Milton,OrangeVase, 40 x30. Illustration—Plate 44
MiltonAveryspokesimplyandconciselyabouthisapproachtoartinthe 1951
catalogueoftheUniversityofIllinoisE.xhibitionofContemporaryAmericanPainting.
ConcerningOrangeVasehewrites,"ForagoodpartoflastsummerIdevotedmyself
totheproblemofpaintingincoolcolors.ThenIdecidedtoreversetheproblemand
doacanvaswithnotasinglecoolcolor—theresultwasOrangeVasewhichI
originallycalledHotStillLife."
HewasborninAltmar,NewYork,in1893.Averyislargelyself-taught,though
hestudiedattheConnecticutLeagueofArt StudentsatHartford,Connecticut.
PrizeswereawardedhisworkattheConnecticutAcademyofFineArts,Hartford,in
1930,andin 1932 attheAnInstituteofChicago.HewonFirstPrizeinthewater
colorshowattheBaltimoreMu.seumofArtin1949.
HisworkisrepresentedinthecollectionsofthePennsylvaniaAcademyofthe
FineArts;BrooklynMuseum;Newark(NewJersey)MuseumAssociation;Albright
ArtGallery, Buffalo,NewYork; Phillips MemorialGallery, Washington,D.C.;
BarnesFoundation,Merion,Pennsylvania;PhiladelphiaMuseumofArt;ButlerArt
Institute, Youngstown,Ohio;the AddisonGalleryof American Artof Phillips
Academy,Andover,Massachusetts;UniversityofIllinois;andtheMuseumofFine
ArtsofHouston,Texas.HelivesinNewYorkCity.
BAUMBACH,Harold,AttheTable, 30 x21. Illustration—Plate 37
"Iamvitallyinterestedinallthenewexperimentsgoingoninabstractform,
wherepaintingvergesonmusic,etc.However,Iamnotpreparedtoacceptmostof
the.seworksasendsinthemselves.Thefinaldestructionoftheidentifiableshapeand
subjectinpaintingmustendinacul-de-sacandinanti-humanism.Ibelievethatthe
artist'smaterialsshouldfunctionaspoeticinstrumentsinapaintingandthatshapes
andsubject[should]bemodifiedbythem."