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Updated: June 23, 2025
Brangwyn's mastery of anatomy is notable, and he builds his men with every flexor showing, like a machine. Pottery burners working around a furnace dimly suggested convey the idea of Industrial Fire in the last of the pictures. There is the same motif of cold in the sky and the fruits, intensified by the somber leafage of fir and pine.
Brangwyn's glass window technique, of separation into many primary and secondary colors by many broad contrasts of neutral browns and grays, is very effective in bringing a feeling of harmony in all of his paintings, no matter how intense their individual color notes may be.
In the panel representing the elementary use of Fire we were all struck by Brangwyn's daring and fine treatment of the ugly. Nearly every face was almost grotesque. And yet every face was appealing for the simple reason that it expressed attractive human qualities. Two, a man and a woman, had noses ridiculously large.
The men and women in them are primeval, too, of Mediterranean type, and garbed in the barbaric colors in which Southern folk express the warmth of their natures. Free and vivid as is their color, the breadth of primeval liberty is not less seen in the splendid spaces of Brangwyn's pictures.
This, then, is the lesson, the deepest and most spiritual attempted in any of the Exposition structures, and surely entitling the court to be called, as its creator wished, the Court of the Ages. Brangwyn's Murals.
The murals at the Exposition are rather unusual in their settings, where every building and every court is so replete with Mr. Guerin's splendid coloring. Mr. Brangwyn's decorations are by far the most interesting in their free joyous use of color and amusing composition.
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