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Milch Galleries THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub­ lished last year, deals with another group of painters and sculp­ tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. Things that are material tend to differen­ tiate us, things of the spirit bring us together. Art m its deepest appeal is spiritual, its ethical importance goes hand m hand with ^elhl-rbefore mankind is looking to the New World not only for material help, but for guidance and eadership. Our country will be ill equipped to fill its destined place m the historv of the world, if it continues to show an attitude of amaz- fng ndiffe encl in matters esthetic. The manifestations of an uncultivated taste, so rampant on our Mam S reets, as well as m side streets, front yards and homes, should no longer^ be covered with the cloak of the time-worn excuse that this is a young country." We are mature enough to realize that mental hygiene is just as necessary as physical sanitation, that it is something more than good pavements and an able police force which makes a city an asset on the balance sheet of evolution. A community and a nation which does not give a considerable amount of interest, time and wealth toward the finer and spiritual things of life,, are of small weight when it comes to a final valua­ tion. Shall it be said that the American people are blind to their duties and privileges in the realm of art? Shall our genera­ tion shoulder the stigma of having failed to patronize the art of our own country and the creative artists of our own times? WILLIAM RITSCHEL, N.A. "Land and Sea" 36 x 48 inches A remarkable sense of space, of distance and great depths are suggested in this lovely West-coast marine. The late afternoon sun sends a glow across the side of the mighty cliff which bravely has stood the bombardment of tides and waves for untold ages. The now detached pinnacle in the foreground, stands a witness and a prophet of the great forces of nature. A mist which blows up from the grey blue sea gives a spiritual quality that causes the beholder to muse on the inspiring symphonies in the great universe. William Ritschel was born 1864 in Nuremberg, Germany. Elected an Associate of the National Academy of Design in 191 o and an Academician in 1914. His awards include: Honorable mention, Salmagundi Club, N. Y. Honorable mention, Carnegie Institute, Pittsburgh, 1912. Carnegie prize, National Academy of Design, N. Y., 1913. Gold medal and $1,000 prize, National Arts Club, N. Y., 1914. Gold medal, Panama-Pacific International Exposition, San Francisco, 1915 Gold medal, State Fai , Sacramento, Cal., 1916. Gold medal, Philadelphia Art Club, 1918. Represented in the following permanent collections: Pennsylvania Academy of the Fine Arts, Philadelphia; Chicago Art Institute; City Art Museum, St. Louis; Detroit Art Club; Ft. Worth (Tex.) Museum. "No theme could be better suited to Ritschel's art than is the magnificent coast of California, and no artist better fitted for worthily presenting the theme. Here is a perfect land of beauty and charm unsurpassable, and an art of perfect poise, gracious in its handling of form and color. A big rugged country and a big vigorous art, a lovely country and a colorful art, equal to the task of presenting the majesty and beauty of cliff and cypress and the stress or joy of the sea." (E. M. STUART in Fine Arts Journal, July, 1916.) ALBERT L. GROLL, N.A. "Land of the Navajo, Arizona" 30 x 25 inches While this canvas is comparatively small, the effect of vast distances through the clear atmosphere gives the impression of a much larger picture. The shapes of great cloud shadows find their way on the flat desert land and serve to throw the rugged hills into darker relief against the sky. A giant finger of sunlight falls upon a distant pink mesa which gives a strong note of color. The immediate foreground and mesas are covered with vegetation and desert flowers. Albert L. Groll was born 1866 in New York. Elected an Associate of the National Academy of Design in 1906 and an Academician in 1910. Among his awards are: Morgan prize, Salmagundi Club, N. Y., 1903. Shaw prize, Salmagundi Club, N. Y., 1904. Silver medal, St. Louis Exposition, 1904. Sesnan Gold medal, Pennsylvania Academy of the Fine Arts, 1906. Bronze medal, International Exposition, Buenos Aires, 1910. Silver medal, International Exposition, Santiago, 1910. Inness Gold medal, National Academy of Design, 1912. Silver medal, Panama-Pacific International Exposition, San Francisco, 1915. Represented in the Art Museums of Washington, D.C., New York, Brooklyn, Boston, Pittsburgh, St. Louis, Minneapolis, St. Paul, Richmond, Ind., Montclair, N. J., Fort Worth, Tex.; as well as in the permanent collections of the National Arts Club, N. Y., and the Lotos Club, N. Y. "Although Groll's earliest work had won him enviable recogni­ tion, the brilliant series of compositions that followed his first trip to the desert firmly established him in the front rank of contemporary landscape painters. Others daring the hardships of the desert, have endeavoured to imitate Groll, but none has ever achieved his masterly and sympathetic interpretation of the lonely lands of Arizona. He is the first painter to bring to us the epic grandeur of the Western plains." (CHARLES H. PARKER in The International Studio, June, 1918.) MMB RICHARD E. MILLER, N.A. "Her Leisure Hour" 34 x 36 inches The pleasant atmosphere of a comfortable morning room is the setting for this attractive young woman who has paused in the occupation of the day to rest in a gaily painted chaise-longue. The deep turquoise blue of the chair is the predominating note in the color scheme, which is further enhanced in the deep tones of purple in the young woman's silk blouse. The fan which she leisurely regards, affords warm tones of rose which are repeated in the draperies of the dressing table. A Chinese porcelain princess and a box with jewels add strong notes of green, rose and purple which are repeated in the mirror beneath the reflection of the face of the fair sitter. The slanting lines of a Venetian blind, against the summer sunshine, give a sense of rakish abandon to the informality of the room. Richard E. Miller was born 1875 in St. Louis, Mo. He was elected an Associate of the National Academy of Design in 1913 and an Academician in 1915. His awards include: Third medal, Paris Salon, 1900. Bronze medal, Pan-American Exposition, Buffalo, 1901. Silver medal, St. Louis Exposition, 1904. Second medal, Paris Salon, 1904. Second medal, Exposition at Liege, 1905. Knight of the Legion of Honor, France, 1908. Temple Gold medal, Pennsylvania Academy of the Fine Arts, 1911. Potter Palmer Gold medal, Art Institute of Chicago, 1914. Clark prize, National Academy of Design, 1915. Medal of Honor, Panama-Pacific Intern. Exp., San Francisco, 1915. Represented in the following permanent collections: Luxembourg Gallery, Paris; Musee de Petit Palais, Paris; Museum of Fine Arts, Antwerp Gallery of Modern Art, Rome; Modern Gallery of the City of Venice Metropolitan Museum, New York; Corcoran Gallery, Washington, D. C. Pennsylvania Academy of the Fine Arts, Philadelphia; Chicago Art Insti tute; City Art Museum, St. Louis; Albright Gallery, Buffalo; Cincinnati Museum; Detroit Institute of Art. He is also represented in the Royal Museum of Christiania and in the private collection of the King of Italy. LILLIAN M. GENTH, A.N.A. "In the Birch Grove" 29 x 24 inches The beauty of flesh tones in their satiny qualities of warm light and cool shade against sunlit bowers of green is the theme upon which this artist has ever been wont to improvise. Sylvan glades are the haunts where cooling waters are the excuse for a refreshing dip, or a sunbath in the clearing near a waterfall. Lillian M. Genth was born in Philadelphia and studied at the Philadelphia School of Design for Women, as well as with Whistle- in Paris. She was elected an Associate of the National Academy of Design in 1908.
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