Evening star. [volume], February 22, 1936, Page B-3, Image 13

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
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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