June 3, 1930:
While all eyes of the art world are being centered on the Brooklyn Museum because of its magnificent sculpture show which has been attracting attention all over the country, Mr. Tschudy, Curator of Paintings, who has been organizing the exhibition, has just brought to light the fact that he also has another large exhibition nearly ready for presentation; the annual summer show of paintings. It will be composed of the work of nineteen artists and will completely fill the large exhibition gallery on the fourth floor. It promises to be one of the most stimulating and colorful shows that have been seen in some time and is full of excellent and original painting.
In line with the Museum's usual policy the exhibition has been chosen by one man, the Curator of Paintings, which has so often proved to be the most satisfactory way to arrange an exhibition. From his acquaintance with work artists are doing, Mr. Tschudy invited the nineteen people who are represented to send their work. It is as usual picked from all schools, although there is a noticieable dominance of modernism. The artists are from all parts of the country and several nationalities. In other words, the exhibition is made up practically along the same lines as was the sculpture show. These two exhibitions will continue throughout the summer and offer the New York public and visitors to New York a remarkable wealth of interesting work.
As to the several exhibitors: William Sanger, who does a large variety of work, is a practising architect living in New York and a member of the State Board of Architecture; several scenes from the coast of California are shown by M. de Neale Morgan, a California woman appropriate to the One Thousandth Celebration of the Independence of Iceland are several paintings of the country by Theodor Wedepohl; there is a large collection of the recent work of Bertram Hartman, including water colors and oils, showing several interesting scenes of New York from hlgh buildings; extremely modern, fresh and amusing work by Lue Osborne in which the frames are an integral part of the design; several landscapes by Cordray Simmons, husband of Miss Osborne; the development of the making of the stained glass window from the original sketches to the finished colored paintings by George Pearse Ennis; the work of Lorser Feitelson and Nathalie Newking, who work in somewhat the same manner and whose work is identified with the Neo-Classic School and gives the impression of Old Masters when one first enters the gallery several bright decorative scenes of Russia by Leonid Brailovsky; New York subjects and Russian emigrants on their travels by Irwin D. Hoffman, as well as the work of Helene Warder Beggs of Chicago; A. D. Zdanovsky, a. Russian; Aaron Berkman, John Kellogg Woodruff, Hobson Pittmen, Loren Barton, Jeanie Gallup Mottet, Enzo Baccante and Take Suzuki, whose work was not available for characterization at the time of this report.