Elizabeth Moorhead Vermorcken

Summary

Elizabeth Moorhead Vermorcken The Carnegie Institute and Library of Pittsburgh (1916)

Pittsburgh cannot lay claim to any distinctive art atmosphere as yet, but once a year it has its moment of exotic bloom, which gives it a part in the universal flowering and leaves a lingering fragrance for the duller months.
A permanent collection of noteworthy paintings may be seen in the galleries on the second floor. No attempt has been made to secure examples of old masters, which would necessarily be second-rate; the collection is frankly modern, representative of the best effort of our own time.
Source: Wikisource

Elizabeth Moorhead Vermorcken The Carnegie Institute and Library of Pittsburgh (1916)

The average exhibition of architectural casts consists of dry fragments, interesting only to the expert; here we have a harmonious whole that gives delight to the veriest tyro.
There is a perfect illusion. We are suddenly transported, as if by some magic carpet, to France, and stand in the porch before the abbey church of Saint-Gilles, in the Department of Gard—not a fragment, but the entire porch itself, with its heavy doors swung open so that we may mount the worn step and cross its threshold.
Source: Wikisource

Elizabeth Moorhead Vermorcken The Carnegie Institute and Library of Pittsburgh (1916)

THE CARNEGIE INSTITUTE AND
LIBRARY OF PITTSBURGH
BY ELIZABETH MOORHEAD VERMORCKEN
A little less than a hundred years ago Hazlitt published his "Inquiry Whether the Fine Arts are Promoted by Academies and Institutions," in which he declares very emphatically, with all the critic's scorn of British Philistinism, that the arts are not dependent upon "encouraging circumstances" or any artificial props, but flourish best in obscurity. "Art is not science," he says, "nor is the progress made in the one ever like the progress made in the other."
Source: Wikisource

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