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’ -- - WILLIAMSBURG AND SANTA FE -« Two Ancient American Backgrounds Appear in Washing ton Exhibits—Color Block Prints Among Artistic Contributions to Local Galleries* By Leila Mechlin. An EXHIBITION of paintings by members of the Society of Washington Artists opened this week in the Y. W. C. A.'s International House at 614 E street j northwest, where it will remain on view until April. This is the third exhibition that this society has put on in these galleries and it consists for the most part of works shown in the annual exhibition set forth in j the Corcoran Gallery’ of Art in Janu ary. Forty-three canvases are included Five are hung in the hall which leads! from the entrance to the cafeteria, j two are in the office, end the rest are about evenly divided between the two large assembly rooms which are, It will be remer.*)ered, toplighted. These rooms were built by the erst- 1 while owner of this building, Mr. j McGuire, for the display of works of art, privately owned, and there are no better galleries, save those in pub lic institutions, in the city. The collection now of view is very pleasantly varied and admirably hung, j For the latter, Miss Lucia Hollerith,! secretary of the Society for Washing ton Artists, and Miss Clara R. Saun- j • ders, her colleague, are responsible. Two of the prize-winning pictures are here. Robert Gates’ “Mrs. Bowman's ' Chickens,” which received the medal ] for landscape, and “Sunlight.” by Gladys Nelson Smith, which received, by overwhelming majority, the "popu lar” vote from visitors representing the lay public. Here, too, is Alice L. L. Ferguson’s Winter picture, “Febru ary,” showing skaters on a frozen pond in the midst of a snow-covered landscape, which attracted much at tention in the Corcoran show. There are figures by Bertha Noyes, Frances C. Todd, Gladys Nelson Smith, Ma thilde M. Leisenring and others. A very attractive group consists of a painting, "Church With Elms,” by Blanche H. Stanley, on either side f of which have been hung a still life by Mrs. Lona Miller Keplinger. •‘Guinea-Gold Marigolds,” and • a group of objects seen in out-of-door light, “The Porch Table,” by Lucia B. Hollerith. X iic i uii exit gamut ** *-»*** • Roy Clark’s ‘ Truck Farm,” very in teresting in pattern and manner of treatment, to Minor S. Jameson’s subtle and sensitive interpretation of mood in Nature—"October.” "The Shed,” by Dorothy M. Davidson, and •‘The Flower Garden,” by Omar R. Carrington, are akin to the latter, whereas “Provincetown Street,” by Rowland Lyon, and “Ellicott City,” j by Beulah H. Weaver, are in the class with the former, very direct in state- j ment with emphasis on fundamentals. Several out-of-town members are! represented. “Old Walls, Sagunto, Spain," by Wells M. Sawyer, is one of k these. When it was on view in the j Corcoran Gallery of Art in January, and, incidentally, illustrated in the catalogue of the exhibition there, the painter wrote a friend in regard to this painting as follows: “It (Sagun to) is a wonderful place about 30 kilometers north eff Valencia. I had to go each day by auto bus to the ! town, then across it, and then up the hill 500 or 600 feet high, to get : my view. My picture is but a frag ment. probably a fifth of the whole fortification. The place was called •Old Walls’ by the Moors. Hannibal had captured the fortress and the j town, and then the Romans retook ; it. All in all. six civilizations have I fought over those battlements. Down the hill is a well preserved Roman theater, which one passes on the way up.” Another out-of-town member rep resented is Edward S. Shorter, a Georgian, who studied here at the Corcoran School of Art and is now president of the Macon Art Associa tion. He is represented by a portrait study of a Negro girl. “Maud." Mr. Shorter has been holding a one-man exhibition in the. Studio Club of At lanta February 5 to 20. a iiumuci ui wic pictuico ui i this exhibition have been painted in distant places, for here are Mary G. Riley’s “Barranca,” Lucia Hollerith’s “Near Salzburg, Austria,” and John U. Perkins’ “Laice Louise.” Garnett: Jex is admirably represented, how ever, by “Winter Morning, Harpers Ferry,” as are A. H. O. Rolle by “Moonlight—Annapolis” and Robert E. Motley by “Old Virginia Home.” There are some flower and still-life studies, in addition to those already mentioned, which lend color and in terest—such as “Zinnias” and “The Open Window.” by Grace M. Ruck man; “Gladioli,” by Marguerite C. Munn, “Legumes,” by Clara Saunders, and “Still Life,” by Charles Val Clear. Elizabeth Sawtell’s “In the Woods” and Clara Saunders’ “Shade” are both engaging tree studies. Mention should also be made of a painting, “Spring Along the Potomac,” by Elizabeth E Graves, treasurer of f the Society of Washington Artists, because of its freshness of color and Viewpoint, and of Ruth Osgood’s “Asparagus Bed”—a landscape—on account of the unique character of subject and treatment. “Washington Wharves,” by Mar * garet Zimmele, noted with commenda tion when in the exhibition at the Corcoran Gallery, is now here and seen to excellent advantage, as are landscapes by Katharine Beaman, Helen E. Townsend, William F. Wal ter. an East Gloucester subject by Marguerite Neuhauser, and a bouquet of “Old-Fashioned Flowers" by Helen F. Collison. All in all, it is a de lightful and well-balanced collection— • very engaging exntbition. Two Exhibitions Opening In the Arts Club. ‘ 'T'WO exhibitions open tomorrow in 1A the Arts Club, 2017 I street, one of paintings by Tom Brown, formerly or this city, but now of Williamsburg, Va„ and the other of block prints In color by Gustave Baumann of Banta Fe, N. Mex. Of the 28 paintings in oil that Mr. Brown will show all but three or lour will be of houses and scenes in historic WllliamsDurg. The very names conjure visions. The Travis r House, Bassett Hall, Paradise House Bam, Coke-Garrett House, Bruton 1 Parish Church. Archibald Blair House, Capt. Orr’s House, Market Square i Tavern are all part and parcel of history which permeates thigv1 BULLETIN OF EXHIBITIONS. Corcoran Gallery of Art—Per manent collections. Washington Water Color Club's annual exhi bition, water colors and works in black and white. National Geographic Society Exhibition of sculpture. "The Races of Mankind,” by Malvina Hoffman. National Gallery of Art—Exhi bition of portraits by Bjorn P. Egeli; exhibition of pastels, water colors, drawings, lithographs and designs by Mons Breidvik and exhibition of vitreous enamels by Prances and Richard MacGraw. Smithsonian Building—Exhibi tion of etchings by Levon West. Arts and Industries Building, United States National Museum —Exhibition of photographs of old missions of California by Devereux Butcher. Freer Gallery of Art—Chinese paintings, Oriental art objects; paintings, drawings, etchings by Whistler and paintings by other American artists. Two bronze tigers, Chou dynasty, recently acquired. Phillips’ Memorial Gallery— Permanent collection of paintings by old and modern masters. Studio House—Exhibition of paintings by Harold Weston. Textile Museum of the District of Columbia—Rare and beautiful textiles, rugs and embroideries, chiefly of the East. Arts Club of Washington—Ex hibition of paintings of Williams burg. Va., by Tom Brown and exhibition of block prints in color by Gustave Baumann of Sante Fe. Library of Congress—Recent accessions: Pencil lithographs and original illustrations by Stan ley Reinhart, W. A. Rogers and others. Public Library, main building— Water colors by Hugh Collins. Northeastern Branch Public Library—Exhibition by 20 woman painters. Southeastern Branch Public Library—Exhibition by Landscape Club. Georgetown Branch Public Library—Twenty-seven paintings by Washington artists. Dumbarton House — Historical exhibit of art in ladies’ dress be fore 1830. Howard University Art Gallery —Japanese sword furniture, lent by the Metropolitan Museum of Art. and a collection of illumi nated manuscripts in historical sequence, circulated by the Amer ican Federation of Arts. District of Columbia League of American Pen Women, the Burl ington—Exhibition of paintings by Edna Webb Miles. place, lately brought back to life through the generosity of John D. Rockefeller, jr„ and the scholarship 3nd skill of a group of experts work ing for some years in the closest co operation. The restoration of Williamsburg is a colossal piece of work—and a work of art a. that. It is one thing to pre serve and another to restore, rehabili tate, renew. Records had to be searched j out and studied, excavations had to De i carefully made, every available source consulted, before this charming old city, the scene of so much that was vital and dramatic in the establish ment of life in this country, could be reborn. In Williamsburg this Winter the Legislature of Virginia met for a session for the first time in many, many years. This was, perhaps, to create environment, but also to prove that this Williamsburg is not merely to be looked at—a show place—but a ' place in which life goes on. Mr. Brown seems to have had the same thought in mind in choosing his subjects, for, according to the catalogue, already available, he has pictured not only the houses, but their surroundings and set forth the city as seen under the changing conditions of Spring, Sum mer, Winter and Autumn. In other words, this in the aggregate will be an artist's interpretation, not of the sights of Williamsburg, interesting as they may be, but of the spirit of the place. Mr. Brown is a member of the So ciety of Washington Artists and of the Washington Water Color Club. He paints, as a rule, in a rather high key, with great delicacy of feeling and touch and also frank simplicity. tine uoior Block Prints. QUSTAVE BAUMANN of Santa Fe was born in Germany, but has lived the greater part of his life in this country. He has the willingness to take endless pains in order to at tain a desired end, characteristically German, but he has at the same time an originality and freedom of expres sion more often found in those of the Southern Latin races. He has, more than any one else, employed the wood block as an original medium of ex pression. using it as none other has used it, in a way entirely his own, and with excellent result. Color wood block printing—and making—were the invention of the Japanese, and the methods they used, somewhat modified, have been fol lowed by Western artists almost with out exception. But not Baumann. The Japanese wood block makes much of outline—such line demarking the color area. Baumann, by the use of more numerous blocks and re markable care in registering, has no color boundaries in the way of black lines. Most skillful also is he in su perimposing one color on (mother and thus creating not only dimen sional effects but the illusion of light and atmosphere. But his prints are simple, as a rule, in composition and very decorative in effect. Some are meant primarily as decorations—all nave an intent which transcends the things set forth with a truth great er than reality. As, for Instance, some of his Santa Fe subjects, which five the e£kct feeling of the place and hour. He has tried interesting ixperiments with metal leaf as back ground for blossoming fruit trees ind for flowers, and with great suc :ess. He employs a certain amount >f symbolism in his decorative bar dcrs, borrowing from the Indian folk lore and tradition. He and his wife (a musician) and their little daughter live in an adobe house just outside of Santa Fe. Adja cent to the house is his studio, where he makes and prints his blocks. He gets out very small editions, printing only a few at a time—and rarely are two alike. Each is in fact an origi nal. Since the depression came upon us, making things more difficult than they were before for artists in all parts of the country, Gustave Bau mann has been making not only :olor wood blocks but puppets and exhibiting them in highly original skits. This past Christmas the Bau mann marionettes presented two plays, with the help of other mem bers of the Santa Fe colony, for Ann, the daughter, and their friends. They are a happy lot, these Santa Fe artists, and greatly gifted. It will be an interesting coincidence to Portrait in relief of Mr. Emory Buchner, by Hilda Scudder. The old Spanish Franciscan Mission of San Luis Rey, founded in the year 1798. A photograph by Devereux Butcher. have old Williamsburg and old Santa ! Fe represented in adjacent galleries in our Arts Club of Washington next week and until March 13. Weston at Studio House. Harold Weston will hold a one-man exhibition at Studio House, opening , this afternoon with a private view ; and reception and continuing from the 24th of February (Studio House is closed on Sunday) to March 7, j inclusive. By repeated exhibition in the Phil lips Memorial Gallery, Mr. Weston’s I work is already fairly well known in Washington, but in contrast to his more familiar personal easel pic tures, this exhibition, it is announced, will include “several paintings de picting impersonal industrial scenes of co-ordinated activity done by Mr. Wes ton in competition for the decora tion of the custom house in Phila delphia.” It was on the basis of these particular paintings that this artist was recently invited to prepare mural designs for the main lobby cf the Federal Warehouse in this city, where the Procurement Division of the Treasury Department has its quar ters. Harold Weston was born in Merion, Pa., in 1894. While at Harvard, he determined upon a career as a painter. During the war he enlisted with the British Red Cross and served with the forces directed northward from India ind Mesopotamia to recapture Pales tine from the Turks. After the war he remained for several years in Europe, painting, of which three were spent in isolated parts of the Pyrenees where he and his wife established their first home. Since his return to America, he has rapidly advanced n competence and recognition. The “New Stove,” now in the Phillips foilection, was one of his first intimate ttanvases to win popularity. He is represented in the Memorial Gallery, Rochester, and in the Pennsylvania Academy of Pine Arts as well as here. nuuu OL'uuuer s Portraits in Relief. PORTRAITS in bas-relief by Hilda Scudder were shown informally Thursday afternoon by invitation of Col. and Mrs. Cecil, at their home, and again this afternoon at the resi dence of Mrs. E. H. Harriman at a tea given in honor of the sculptor. Miss Scudder is a Bostonian, a grand daughter of Dr. L. Clark Seelye, for merly president of Smith College, and is a distant relative of Janet Scudder, whose distinguished work along the same lines is world renown. After graduating from the Massachusetts School of Art, Miss Scudder went abroad and studied for four years in Paris under Felix Benneteau. For two years she exhibited in the Paris Salon; she has held a one-man show in the Guild of Boston Artists Gallery, and her work has been accepted by the jury of the National Academy of Design, New York. Miss Scudder spent last Winter in Florida, where she executed a con siderable number of commissions for portraits of prominent persons. Among her sitters have been Dr. Oscar Rogers, Thomas J. Watson of New York, Dr. Nathaniel Allison of St. Louis, Emory Buckner of New York and Dr. Hamilton Holt, president of ; Rollins College, Florida. She has been | especially successful with her portraits j in low relief of men, but she has also ! scored with her likenesses of children. Miss Scudder does not confine her self to work in relief, but has done quite a little in the round, among which mention should be made of one or two very charming fountain figures. It is to be hoped that arrangements will be made for a public exhibition of Miss Scudder's sculpture here before she leaves the city. Arms’ Lecture on Etching Arouses Interest. CO GREAT was the interest of the audience in the lecture that john Taylor Arms gave on “Contemporary Eetchers Versus the Old Masters,” in the auditorium of the Corcoran Gal lery of Art last week, under the aus pices of the Washington Society of Pine Arts, that the usual hour and a half was extended to two and a half, when, to induce dispersal, the lights were turned out one by one. Mr. Arms is not only a dynamic speaker, but a Photo Exhibit to Show Return to —-. *%-----* First Annual Show Here Scheduled by Junior League Gallery. By Prentiss Taylor. THERE is continual talk of the “great tradition” in painting, and most of it is a lament that contemporary work is not a continuance of that tradition; but with photography, which established its own great tradition of honesty of I vision at the outset, there has been a manifest return to tradition, as will be shown by many of the pictures in the First Annual Washington Pho tograph Show at the Junior League gallery. This strictly contemporary exhibi tion of prints by Washington pho tographers and important national camera artists could not include the work of David Octavius Hill, though his Edinburgh portraits of the 1840s and 1850s have since hardly been se riously rivaled. There is a book with many examples of Hill’s work that shows the first complete statement of what photography’s great tradition would have to be. The use of the camera machine to record with com plete realism those things causing response in the individual sensitivity of the photographer, to record as com pletely and honestly as possible the total of the photographer’s aesthetic sense his vision and his human ex perience. And the true following of any great tradition includes technical knowledge. This tradition of photography owes part of its early foundation to the limitations of the first cameras, ancf as the camera became more adaptable the sense of it as a machine was lost in a welter of aesthetic and technical experiments. Some of these pictures were beautiful and remarkable, but most of them floated in pseudo ar tistic mist of varying technical deli cacies. The camera, of course, was not doing this alone. The world was seeming to like itself and most of its presen tations were on the pleasant side; that a number ol creative people at “Shanty," by Benn Shahn, included in the first annual Washington Photographic Show, opening at the Junior League Gallery, 2001 Massachusetts avenue, tomorrow afternoon from 3:30 to 5 o’clock. the time were able to sincerely ex press this only helped the effect. But as there were some humanitarians working to make the world a less al loyed good there were some creative people who realized that “loveliness” was being misidentifled as beauty and that profound honesty had been crowded from the scene. rpjjE man to realize this most keenly and to have the greatest subse quent influence, through continuous effort over 30 years, is Alfred Stieg litz, who returned to America after having become noted in Europe for his photographs, to re-establish the camera as a machine for realistically recording things which express hu man, that is emotional and intellect ual, experience; that by, this view point photography is as significant and self-respecting as the other arts. This redeclaration has been slowly increasing in force. One could call its clarity and objectivity, its direct ness, sunshine, but one must admit that not all of the mists have been burned out of the photograph “salons’* yet. Edward Weston, now the mo6t completely realistic and depersonal ized photographer, was a salon prize winner until 1021, when he began to feel he was missing the actuality of photography. He, with the best creative people of today, has tried to prove beauty is ndt to be confused with loveliness, that beauty is a more austere, a sterner and richer quality. Greek tragedies can never be ojgled pleasant, "Start at Dawn," combination etching and drypoint by Levon West, on special exhibition in the Division of Graphic Arts, Smithsonian Building. i’ery brilliant etcher—one of the best. He is represented by four prints in :he Washington Water Color Club's :urrent annual exhibition in the Cor roran Gallery of Art, one of which is •Valley of the Savery, Wyoming,” which was awarded the Eyre medal it the thirty-third annual Philadel shia Water Color Club exhibition in i :he Pennsylvania Academy last No iember. A comprehensive collection jf his etchings will be shown in the Corcoran Gallery in March. The next lecture in the Washington Society of the Fine Arts 1935-36 course will be on “Mural Painting,” and is to be given by Miss Violet Oakley of Phil adelphia, one of our most accomplished mural painters, on the evening of March 11. It will be illustrated by stereopticon slides. This lecture will i be given in the auditorium of the ! United States Chamber of Commerce. Japanese Swords and Trappings. rT'HE exhibition of Japanese sword furniture, now to be seen in the Howard University Gallery of Art, is not only interesting in itself, but through association. The Thomas Waggaman collection, so discreetly as sembled and beautifully shown in the j Waggaman house in Georgetown 25 or 30 years ago, comprised some fine specimens of sword guards from Japan; and included in the collection of Japanese arts and crafts given the I Library of Congress by the late Crosby ! S. Noyes were also some choice ex- \ amplcs. The “door” of Japan was opened by Commodore Perry in 1854, ! at which time long and short swords I were carried by all Japanese of the ! military caste, of which there were about 400,000. After 1877 the wearing of these swords was abolished by edict and then Europeans and Americans began collecting them with great en Realism Work of Notable Camera Users Is Chosen for Place in Display. they are filled with horror, but there are few better examples of real beauty (there is no longer any need to capi talize). The new artist and the new i photographer knows there is in trinsic beauty in the lowliest of things, there can be functional beauty, a spir itual beauty that rises above the sordid, or the more objective beauties of color, tactile values and composi tion. He knows that by a sensitive selective nature intrinsic beauty can be discovered in many things other than the merely pleasant. The only comments on his success, the true success is self-spoken, are ones of prejudice or real critical appreciation. 'T'HE photographs by Edward Weston, Walker Evans and Margaret Bourke-White, the latter frequently uses her medium for industrial and social commentary, have been selected for the Washington Photograph Show especially to elucidate this trend. In the "Pepper,” by Edward Weston, one finds aside from an immediate text ural beauty an emotion that he can not instantly determine, then he re alizes the pepper suggests a mother and child and, measured by his so phistication, he is annoyed or at tracted by this. Even if he is first annoyed he soon realizes that he is not seeing “bears in clouds,” but that he is seeing a much more profound statement, he is seeing the emotion of mother and child, the warmth of flesh and the tenderness and protec tion of contact. It is not a senti mental statement but the feeling that runs through all forms of life. These pictures, with additional ex amples by Doris Ullman, Carl Van Vechten, Ralph Steiner and the work of Washington photographers, will be on view at the Junior League gallery, 2001 Massachusetts avenue, beginning with a preview Sunday afternoon, Feb ruary 23, from 3:30 to 5:30 o’clock. The exhibition may be seen daily ex cept Sunday from 10 to 5 o’clock until March 8. thusiasm. because of their intrinsic in terest and artistic merit. The hundred examples included in the present ex hibition were selected from the Metro politan Museum’s surplus collection. Over 60 of these pieces are signed by the designer and maker, which gives indication of the importance placed upon the crafts by the Japanese. Also one of the guards records that the mo tive used is taken from a design by Sesshiu, a Buddhist monk, and one of the greatest of the Japanese painters. Some of the designs used are purely symbolical, while others record events and happenings of more or less note. But in every instance the treatment is primarily with the purpose of dec oration and essentially appropriate thereto. A catalogue with notes on each ex hibit and an introduction by Stephen V. Grancsay, from w’hich some of these facts have been taken, has been pub lished, and greatly adds to the value of the showing. Junior League Photographic Show. AN EXHIBITION of photographs— ^ the first annual Washington Pho tographic Show—will be held in the new gallery of the Junior League. 2001 Massachusetts avenue, from February 24 to March 8. In addition to the works submitted and passed by the jury, there will be included in this exhibition a number of specially in vited prints by those w'ho have at tained wide reputation and standing. Among these will be Edward Weston, Carl Van Vechten. Ralph Steiner, Walker Evans, Margaret Bourke White, Arnold Genthe and the late Doris Ullman, each of whom in his or her own way has found, through the medium of photography, new and original mode of artsitic expression and so widened the field not only of photography but of art. It may interest some to know that Washington has not lagged behind in recognition of the potentialities of photography as an art. Many years ago, when both men were just begin ning to be known as photo-pictorialists of special gift and vision, Stieglitz and Steichen were honor guests at a sup per given to mark the opening of the local Camera Club's annual exhibi tion. Mrs. MacWhite’s Paintings of Ireland. 'T'HE exhibition of paintings by Paula MacWhite, wife of the Minister from the Irish Free State, which has been on view for the past fortnight in the gallery of Mrs. Cornelius J. Sulli van, New York, has attracted much favorable notice. This exhibition com prised 23 canvases painted in Ireland and giving glimpses of such places as Cork, Connemara, Kerry and the Island of Aran. Mrs. MacWhite was born in Denmark and first studied in Copenhagen. After the war she went to Paris and studied at the Julien Academy and under special masters. After her marriage she studied and painted in Switzerland, Munich and Italy. She exhibited ir the Salon in 1926 and at the Roerich Museum in New York in 1934. Mrs. MacWhite was represented in the Society of Washington Artists’ recent exhibition by a painting of Taos, N. Mex. Her work is direct, her style broad and assured. pDNA WEBB MILES (Mrs. Walter Miles) of Chevy Chase is holding, by invitation, an exhibition of her paintings in the studio of the District of Columbia branch of the League of American Pen Women, the Burlington Hotel. In her girlhood Mrs. Miles won a scholarship for a four-year course in the Maryland Institute. Later she studied under Burtls Baker at the Corcoran School of Art and under Mr. Claghorn and Miss C. C. Critcher. She has exhibited at the Maryland In stitute, in the Tennessee State Fair, at the Chevy Chase Woman’s Club and elsewhere. Her subjects are chiefly local scenes and people. This exhibi tion, which opened with a tea last Sunday, will continue another week. It will be open to the public every after noon from 2 to 5 o’clock. TN THE Georgetown branch, Public Library, a collection of 27 paintings by Washington artists was placed on vie«T this week, to continue for a month or more. This exhibition fol lows the inaugural showing by mem bers of the Landscape Club and the exhibition of paintings by the Twenty Woman Artists, and represents no organization, but instead those who are to be numbered with the inde pendents—and seeking newr roads. Among the exhibitors are Beulah Weaver, through whose co-operation the group was gotten together; Mar jorie Phillips, to each of whose two 1 landscapes a place of honor has been given; Alice Acheson, Angela Hurd, Bernice Cross, Norma Bose, Katherine Beaman. Elizabeth Barnes, Julia Eckel, Sewell Johnson, Frances Carroll Todd, C. Law Watkins, Robert F. Gates, Richard Sargent, Charles Dunn, Olin Dows, Rowland Lyon, Alexis Many and Eben Comins, certainly a repre sentative assemblage. Fuller review of this exhibition will be given later. 1 ^HE exhibition of sculpture—“Races of Mankind”—at the National Geographic Society has closed and the bronzes have been transferred to the Baltimore Museum, where they have their next showing. This and the exhibition of paintings and drawings by Alexander Iacovleff, the Russian artist and traveler, shown last Win ter, likewise in Explorers' Hall, under auspices of the National Geographic Society, proved, events long to be re membered with pleasure and grati tude. Mr. Iacovleff, who is now con nected with the Boston Museum of Fine Arts’ school, has just been hold ing an exhibition at Knoedler’s, in New York, which has attracteed much 1 attention, his magnificent draftsman ' ship being repeatedly remarked. The introduction to the catalogue of this ! exhibition was written by Edward W. Forbes, director of the Fogg Museum, Harvard University. j 'T'HE inaugural exhibition of the new Virginia Museum. Richmond, illustrating the main currents in the development of American painting, closes March 1. It is well worth a trip to Richmond to see. In it are included some outstanding examples of paintings by American masters of the past—such as Duveneck’s ‘‘Whis tling Boy” and ‘‘Pox Hunt” by Wins low Homer. To this exhibition the National Gallery of Art lent no less than nine paintings, among them ‘‘High Cliff, Coast of Maine" by Homer, which he himself considered his masterpiece. Winslow Homer was born in Boston in 1836. and this is, therefore, the centenary of that event. As an original genius untouched by foreign influence, and, in the char acter of his work, well in advance of his time, Homer will always be out standing in the annals of American art. The National Gallery of Art owns not only "High Cliff, Coast of Maine,” but a second, and earlier ex ample, likewise derived through the Evans collection—a small genre, pic turing the interior of a Negro cabin with figures. During the Civil War, Homer undertook a commission from Harper’s Weekly to make illustrations at the front. It was undoubtedly while serving in this capacity that he found the material for this genre. XJOBART NICHOLS, formerly of this city and with many friends here, is holding an exhibition of re cent paintings in the Grand Central Galleries, New York. Mr. Nichols is vice president of the National Acad emy of Design. For the first time in many years, Maxfield Parrish is holding an exhi bition of his paintings. This is in the Ferargil Galleries, East Fifty seventh Street, where a collection of paintings by Paul Sample of Cali fornia is simultaneously on view. Tha contrast must be very striking be tween the works of this idealist and realist—who may, however, not be so very far apart. ASIAN ARTS Fine Chinese Furniture. Jade and ® portraits. Japanese haorl-coata. ) prints, lacquer. 1143 Connecticut Avo. National 1333. .. ■ ",l