Philadelphia Bulletin - April 30, 1967

Dorothy Grafly

One of the most promising art signs of the times is the interest being taken in young artists, supplemented by growing concern over what would seem to be a current lack of appreciation for the teaching of fundamentals.

Three galleries devoted to such problems have opened within the last year in city center: “Gallery Pane Vino” has opened with an unusually provocative show: “Anatomy’s Anatomy.”

Operated by young Philadelphia artist Johnny Aiello, the gallery is more interested in educating students and the public than in making sales. Nothing, in fact, may be bought from the current show since the greater part of it has been loaned by individuals and institutions.

Time was when anatomical casts were taken for granted in art school equipment. Now it is difficult to find them. There are two at “Gallery Pane Vino”, one dealing with the muscular structure of the arms, the other with that of the leg.

A skeleton lies in a glass case, and there are books on anatomy and fascinating anatomical notebooks spiced with color by Martha Erlebacher who, with husband Walter, came here from Pratt Institute, New York, to teach at the Philadelphia College of Art. (Presently Walter has embarked on the herculean task of translating the several hundred figures in Michaelangelo’s Sistine Chapel ceiling from painting to sculpture.)

How closely anatomical structure is tied in with modern art is suggested in figures by Jacob Landau who works more from knowledge of muscles and bones than from the externals of the human form.

Not dissimilar are improvisations on that form by Matisse, Giacometti and Di Chirico.

One anatomical sequence (also in a glass case) points up the bony structure of skulls from seagull and members of the canine family to the human head.

Philadelphia’s own Sidney Goodman introduces into one of his cryptic figures conceptions the anatomical construction of the rib cage, and a wing-like stretching out of what might be arm muscles.

Albert Gold contributes nude studies made for his students at the Philadelphia College of Art, and Dante Cattani, who also teaches there, offers plates from his anatomy book.