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did similar duty in a porcelain factory. After switching his commercial activities to a wine house, he'found himself with a little savings, and went to Palestine at eighteen. From Palestine he went to Egypt, living there, as he naively puts it, "without money" for a year. It was in Egypt that he drank in the riotous colors of the East, which he has since put into all his canvasses.
When he returned to Galatz,_the local B'nai B'rith gave him a pension of 43 francs a month to study art. Rubin studied but he did not paint, although his mind was impregnated with images of the East. Until he had passed through what he conceived to be his apprenticeship he determined on the severe life of the ascetic and lived it.
In 1914 he went to Paris to enter the Academy, but the war broke out and he returned home where, still resisting the impulse to paint, he entered the employ of the leather factory and was sent to Italy on business. In Italy he went through the .-museums and saw the old and new Cffl|Lters. Then came a visit to Switzer-laflu and he saw the paintings of Hod-ler. These workers struck the receptive chord in his heart, rand he seethed with a desire to begin his work but again he resisted, and on returning to Roumania, joined the leather factory once more, this time becoming its manager.
It was only after the armistice had been declared that Rubin finally felt himself ready to paint. He took an atelier in Czernowitz and began.
Unlike Rubin, Kolnik started as a classicist. After a stiff battle with his merchant parents, he was permitted to study art, and entered the art academy in Cracow, where he remained four years, winning medals and other high honors, In 1913 he opened a studio in Vienna, and painted there till the war broke out. He thereupon sold all his canvases, and went to Czernowitz, where he met Rubin - a circumstance which changed the trend of his life.
We have spoken much of the artists. All who see their works will speak much of them, no matter what their
THE TEMPTATION IN THE DESERT                   -                 -                 -                 -         "         -                RUBIN
The central figure represents the artist resisting wordly temptation to follow the severe, scourging road of pure art.
personal impressions will be. But let us just give a two or three-line notice to the gentlemen who made possible the exhibition of the artists' work at an institution like the Anderson Galleries in New York. Among the large gathering that moved around the salons at the opening were several
quiet men who stood out of the picture only by reason of the unusual eagerness they took in the people's appreciation of the paintings. The artists, the Prince and Princess, the critics, the society folk�they were' all admired and pointed out; but they were there only by grace of the whole-hearted
interest of the sincere men whose business is merely commerce. So when-, ever you are present at an artistic reception, the debut of a new artist, give a thought to the silent sponsors, who made the introduction possible.
�JOSEPH KAYS.
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