May 4-23, 1936
"France to New YorkTurning from the somewhat
French studio manner and subject matter prevailing in his first
exhibition on his return from Paris a few years ago, Ary Stillman,
now exhibiting at the Guild Art Gallery (through May 23), had
begun to interpret New York. The hew material has brought with
it a new strength and solidity, although his flaky brushwork persists.
Sometimes his method serves greatly to his advantage, as when
he presents harbor haze or the confusion of Sixth Avenue under
the "El." At any rate, the artist is turning to the
metropolis in an attractively romantic manner and it is evident
that his esthetic effort at interpretation is an earnest and searching
The New York Times
May 10, 1936
In Local Art Galleries
By Hovard Devree
"At the Guild Art Gallery Ary Stillman has
an exhibition of his recent New York landscapes, making his third
exhibition here since his return to America from Paris three years
ago. This is composed of various low-keyed impressions of city
streets, parks and harbor scenes, one of which shows Broadway
at night with convincing luminosity. Generally this artist gets
a subtle feeling of atmosphere in his subjects but leaves them
vaguely realized. Two of the strongest, "Port of New York,"
and "Wharf, East River," both are built on a solider
pattern than is usual in his painting. "Interior No. 2"
and "On the Balcony" represent in the display a warmer
palette, having a fresh charm which the New York subjects lack."
New York Herald Tribune
May 10, 1936
Other Shows of the Week
"Renouncing the eccentricities of technique
that marred his exhibition last season, Ary Stillman now exhibits
a new group of paintings, mostly New York City street scenes,
at the Guild Art Gallery. These canvases have mood and atmosphere,
achieved in the straightforward fashion and without that laborious
straining for wistfulness which made his portraits of last year
seem so trivial. The present group of subjects are for the most
part held to a chalky gray key, with small accents of warm color
to give movement and shimmer. One of the most successful paintings
is the "Rural Kitchen," in which a white wall delicately
absorbs tints from the floor and stove."
Brooklyn Daily Eagle
May 10, 1936
"Ary Stillman mixes his pigments with temperamenta
singularly reserved and sensitive temperament, it would appear.
The garish and the strident, at his hands, become veiled in atmosphere
and resolve themselves into a mystery of grays, softly iridescent
and shimmering. Volumes are not neglected but they keep their
places and do not obtrude themselves unduly. As a result his canvases
have a satisfying unity, and grow on one with association. All
this has been evident before, in his luminous interiors, in his
still lifes and in his portraits. Now, in his present exhibition
at the Guild Art Gallery, 37 West Fifty-seventh street, he has
ventured into the New York scene, into Broadway at that, and its
maddest orgy of advertising lights, and drawn over it all the
charitable veil of poetry. "Astor Hotel," "Broadway,"
"Forty-second Street," and the "Washington Monument"
down in Union Square are particularly admirable. The crowds are
here, the glaring lights, but made livable with and as one would
like to remember them, and not oppressively like what they are
The collection, by the way, remains on view until
May 23, and it is just as well not to miss it, if you can manage
to get around."
The New York Sun
May 14, 1936
By Melville Upton
| Mardi Gras, Coney Island
oil on canvas
31 3/4 x 25 1/2
Private Collection, TX
The Guild Art Gallery lives up to its standard with
an exhibition of paintings by Ary Stillman. This artist, now in
his forties, was formerly a jeweler living in Sioux City, Iowa,
and left his occupation to become a painter. He works in the Impressionist
tradition, but his canvases prove that he has firmly established
his own kind of expression, which consistently appears in each
picture. He frequently uses a palette knife, along with a brush.
White is mixed in nearly all his paint, if not freely used alone.
This fills his color with a grey quality which is often pleasing.
Stillmans chief concern seems to be with
matters of light; the glow or the reflection of it, and the part
played in nocturnal scenes by electric illumination. He keeps
his color restrained, yet in his own way manages to suggest dazzlement
or brightness with considerable success.
There are no figure pieces in the group; obviously
Stillman is a landscape painter, yet he is also fortunate in his
studies of interiors and the city. For sheer color, "Gasoline
Station" is pleasing, especially in its delicate browns.
Among the night scenes are "Astor Hotel," "Forty-second
Street," "Washington Monument" and "Broadway."
His interest in composition is evident in "Mardi Gras, Coney
Island," as well as in many others. "Union Square,"
which is seen almost entirely in terms of black, grey and white,
has the simplicity of a rural scene. Stillman has kept a Western
honesty in his work which saves it from being in any way ostentatious.
There is good painting in "Rural Kitchen," and some
quietly charming color.
The Art News
May 16, 1936
An Iowa Painter Has a Personal Style
By Ann H. Sayre
|Wharf, East River
|View from my Window
|Union Square, Night
||Mardi-Gras in Coney Island
|Gas House, Jersey
||On the Balcony
|Port of New York
|Sixth Ave "L"