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Evening star. [volume] (Washington, D.C.) 1854-1972, February 29, 1936, Image 15

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1 INSPIRATION MARKS ETCHINGS BY WORLD LEADER IN ART
GOTHIC STYLE AND GARGOYLES
John Taylor Arms to Be Represented in Exhibition Opening
on Monday at the Corcoran Gallery of Art—Later Show
ing of Beauty in Ship Subjects by Gordon Grant*
By Leila Mechlin.
WO notable exhibitions open In
the Corcoran Gallery of Art
during the coming week. On
Monday a comprehensive ex
hibition of etchings by John Taylor
Arms will be placed on view, and on
Saturday afternoon will be held a
preview of an exhibition of paintings
> of "The Sea and Ships,” by Gordon
Grant, to which many are looking for
ward with pleasurable anticipation.
John Taylor Arms is a Washington
boy who has risen to pre-eminence in
his profession and today stands among
the foremost etchers, not only of
America, but of our time. He has at
tained this distinction through ex
traordinary gifts of vision, perception.
Intuition and understanding, together
With patience, perseverance and end
less industry. He is a brilliant drafts
man, a most skillful technician, fully
commanding his medium, using it well,
and he has no mannerisms. But all
this, while spelling perfection, might
occasion work of little or no interest,
save to technicians, were it not leav
ened by the spiritual qualities of in
spiration and deep, strong feeling. Not
every plate that John Taylor Arms has,
etched has attained his high ideal,
but never has one been done without
emotional urge.
Trained as an architect, he has given
himself to the interpretation of archi
tectural themes, and chiefly of an
earlier era than our own. In his early
days as an etcher he "took stock of
the medieval towns of France, Italy
and Spain” and was especially at
tracted by "rambling streets with
quaint shop fronts, old doorways and
cables." which he sketched with care.
Then came the war and a long
break. In 1923 he went back to the
land he had most dearly loved to draw
—Prance—and from there found his
way into the southern countries, which
likewise yielded him treasure in their
overwhelming store of architectural
beauty. It was then that his interest
began to center in Gothic buildings, a
•tyle which seems to him—and to
’ many others—to combine all that is
most beautiful—grandeur of scale,
fineness of proportion, wealth of de
tail—in buildings erected by the hand
of man.
At first he confined himself, he says,
to details. To this period belongs a
aeries of plates depicting gargoyles—
* the “Gargoyle Series,” he calls it—the
making of which gave him "endless
pleasure.” To him these grotesques
are an inexhaustible source of interest
and amusement—sheer delight. And
he has made them delightful to many
others, imbuing them with genuine
characteristics, personifying them—in
short, interpreting them, as their me
dieval carvers undoubtedly meant
them to be, with humor and admira
tion.
Later developed the idea of etching
the cathedrals and churches of France,
Which, with digressions "into the well
loved hill towns of Italy and the
i sterner but no less beautiful regions
of Spain,” has occupied him com
pletely for the last nine years.
By 1929 the number of his plates
had reached 146, and since then six
fruitful years have come and gone. It
Is an inexhaustible field—a task which
can never be brought to completion—
but each year as it passes brings addi
tional revelations of beauty and in
crease in fascination.
“I have followed them,” he says,
•from one end of Prance to the other;
I have worked in the shadow of their
magnificent portals and climbing
► apses, and always they have given me
fresh inspiration and renewed reso
lution to interpret, in so far as my lim
ited power will permit, the imagery of
their beauty.”
Such enthusiam is bound to show in
one’s work, and in Mr. Arms’ etchings
It is a great factor. One may marvel
' at his technical skill—it is almost be
yond belief—but it is the artist’s sense
nf heautv and his casernes* to make it
known that constitutes the profound
appeal.
Take, for example, one of his most
famous etchings—“Lace in Stone"—
the west facade of Rouen Cathedral
with its rose window—which, published
Bt $35 or $40 soon sold at $90 and is
now listed at $150—and rare. As a
technical achievement this is supreme,
but it was not done as a stunt, and
never for an instant does the observer
have his attention distracted from the
thing itself by the intrusion of bra
vado, or even self-consciousness, on
k the part of the etcher. In this mag
nificent example of Gothic art Mr.
Arms found the quality which he be
lieves should be in every good etching
—spiritual conception and technical
power, perfectly balanced. “For all
the unbelievable wealth of detail in
the laeelike web that is flung across
the front of this great cathedral," he
Bays, “the feeling for mass and struc
ture and silhouette is never lost."
A somewhat similar plate Is
“Gothic Glory,” the north portal,
Sens, showing again a lacelike trac
ery of glass and lead and stone. More
(rave and monumental are the
churches of Veselay and Puerta de
Obispo Zamore, which he has etched
* with full understanding of their dig
nity and aloofness. With great
strength and vigor he has etched for
k Us the “Via Facchini” in Pisa, and
k'Uh awsaadtvMr It* h(t ran -
tiered a view of the "Chateau Stockal
|>er.”
> But when Mr. Arm* wishes to be ex
plicit, no slightest detail escapes his
miraculous sight or his magical skill—
the magic of tireless training. This
• may be observed in such plates as
"Venetian Plligre,” “Palazzo Angelo”
and, in lesser degree, in “Gerona,”
"Prom the Ponte Vecchio” (not in
cluded in the catalogue of the forth
coming exhibition, but very well
known), “Shadows of Venice,” the
Rialto, and “Stone Tapestry," me
dieval carving.
The extraordinary thing about these
etchings is that, with their multiplicity
v of detail, they present a thoroughly
unified impression—there is no con
fusion, no drawing away of attention
from the large and all-important
theme. Also remarkable is the depth
and transparency of Mr. Arms’ etched
shadows—produbed, he says, by going
over and over the plate with little
strokes where deep shadow is found—
but none other has been able so to
SDDly this method.
A most lovely plate is "Venetian
Mirror”—the Grand Canal with its
k bordering palaces, steeped in sunshine,
asleep, tranquilly mirrored in the
quiet water. This is etched almost en
^- tirely in line and without shadow, with
great reserve and delicacy.
Among his plates most esteemed by
c.
his professional colleagues are “The
Gothic Spirit” and “Le Penseur de
Notre Dame”—gargoyles rendered with
not only humor and understanding,
but a very special lightness of touch
which is almost Inimitable. One could
enumerate indefinitely. Some of the
plates to be included in this coming
exhibition are tiny, not exceeding 2
by 4 inches in I'mensions. None is
very large. They a.invariably etched
in the artist’s studio from pencil
drawings made on the spot with in-,
finite care and precision—which in
themselves have almost the beauty
of the finished work As some one
who knows his work has said, his
prints are not “slavish imitations of
the actual physical aspects of existing
structure, but rather spiritual recon
structions embodying the faith, the
aspirations and thoughts of a bygone
age.”
Dorothy Noyes Arms, the etcher’s
wife, has told in her charming books,
"Churches of Prance” and “Hill Towns
and Cities of Northern Italy” (illus
trated by her husband’s etchings),
something of the difficulty of making
these drawings, surrounded by inquisi
tive onlookers or under adverse
weather conditions—as well as some
thing of the joy of discovery and tri
umphant achievement. They motored
from place to place as the spirit moved
them, tarrying or moving on as cir
cumstance induced, gathering ,as they
went, rich material for future inter
pretation, together with memories
“like a loose bunch of flowers culled
at random, each for some quality of
color or fragrance, all its own.” These
memories refer in many instances to
the making of the very etchings which
will be on view in the Corcoran Gal
lery of Art next week and when once
communicated give them added sig
nificance.
Like her husband's etchings, Mrs.
Arms’ word pictures are colorful and
full of atmosphere—she is an ob
servant, well seasoned traveler—a
graceful and very gifted writer.
In 1930 John Taylor Arms was
i ma/ta an
Academy of Design and three years
later an academician. In 1933 he
was made by France a chevalier of
the Legion of Honor and in 1934 the
Royal Society of Painter-Etchers and
Engravers of England elected him to
associate membership. He is repre
sented not only in the leading print
collections in this country, but also
in the Albert and Victorian Museum
in London, the Bibliotheque Nationale
in Paris and other outstanding foreign
collections. He is president of the So
ciety of American Etchers and gives
much time to the advancement of the
graphic arts and their appreciation.
Gordon Grant’s Ship Pictures.
TTHE exhiibtion of ship pictures by
Gordon Grant, which will open in
the Corcoran Gallery of Art next Sat
urday, under the auspices of the
Washington Society of the Fine Arts,
increases in Interest and importance
as the date of the showing approaches.
In addition to the 30 paintings pre
viously promised, one of which, by the
way, is the “portrait’’ of the U. S.
frigate "Constitution”—“Old Iron
sides”—lent by the president, two ad
ditional canvases will be lent by local
owners. These will be “The China
Sea,” lent by Thomas W. McKnew,
and “Sovereign of the Seas,” owned
and lent by Melville Grosvenor.
This exhibition will include ships of
many kinds not as at anchor in safe
harbors, but as sailing the high seas.
One canvas will set forth the defeat of
the Java, a British ship, by the Con
stitution, in 1812, an event of great
historical interest. Others will recall
the days of the barques, the clipper
ships and the windjammers.
There will be pictures of whalers
and of other fishing craft—in fact the
whole colorful history of the days of
sailing ships will be vividly recalled.
A sailing ship is in herself a work of
art, beautiful in line, fine in propor
tion, graceful and rhythmical in mo
tion. To see such under full sail is a
sight now growing very rare, tout at
all times memorable. Gordon Grant
is not only a painter and etcher of
distinction, but an authority on the
history and development of sailing i
y
raft of which he has made a pro
ound study. None is a greater lover
f the sea and ships than he. Mr.
Jrant is coming from New York to
ttend the pre-view.
iarold Weston’s Virile Paintings.
LTERY strong, virile and out of the
ordinary are the paintings by
Iarold Weston, now on view at Studio
louse. Of course there are many ways
f painting, but there are compara
ively few painters who do not follow
onvention, if not tradition. Mr. Wes
on is one of these. His work is unlike
hat of any one else. He has quite
mconsciously, one may believe, de
eloped a mode quite his own, and
laturally held to it. In the midst of
nuch forced originality, this seems
lerfectly genuine, in fact almost naive,
’resumably he paints the way he does
lecause he sees and feels things in
his way. None could doubt his sin
erity.
He shows a great variety of subjects
-landscapes, figures, portraits, the in
erior of a factory, a shipyard, still
ife. interiors. One of the portraits
s of himself as reflected in the little
tudio mirror on his easel. He is
ighting Jiis pipe and the match flares
>rightly. Ano‘her portrait is of a
:arpenter who does odd Jobs for him
n his Adirondack village home. He
s pictured in a plaid jacket seated in
i room on the walls of which hangs
in Oriental rug. A third and very
vivid portrait study is of a man lying
iown: only the head and hands are
jainwa, ana mat portrait or the body
:lad In a “Lumber Jacket.”
These are not smooth, sauve exam
ples of portraiture, but rough and
rugged as hickory stumps, or rock
jeaten by the elements. They have in
them a measure of the elemental—
they possess no subtlety save that of
itark realism, which is sometimes
ised as a screen. The landscapes are
somewhat of the same order, though
:ven more simple and conventional-*
zed. Evidently, to Mr. Weston, pat
tern is of chief concern. This leaning
tie traces back to the teaching of
Denman Ross at Harvard, for Ross
was a great Orientalist and deeply
nterested in design.
In two of Mr. Weston's oil paintings
—that of a shipyard and the long
panel depicting the interior of an
automobile factory—there is, strangely
;nough, a touch of Chinese influence,
which may. he explains, have come
through a three-year sojourn in the
Orient. Possibly it is a matter of
color—more likely, however, of de
sign. These two paintings are as
smooth in surface finish and as care
fully wrought in detail as his other
works are loose and broad in treat
ment. The shipyard is quite lovely
In color, whereas the factory is of
greatest Interest because of its pat
terning of unconventional shapes. In
it too. however, there is a nice repeat
if yellow and a pleasing harmony of
yellow, blue and brown in modulated
tones.
The still life studies are, in turn,
varied. One is of a pair of snow
shoes, stood upright against a wall
very realistic—another is of a crock
pf fems on a table seen below the
level oi me eye ana in snape perspec
tive, while a third is of a handful of
partridge feathers on a brown-gray
cloth—a study in these tones—very
beautifully rendered.
Finally there is a picture of a little
boy sitting on a high stool washing
his hands at a porcelain wash basin,
his back to the observer—the charm
of which is in the lighting effect—the
transcription of simple values—and
in addition two interiors without fig
ures—one of a hallway, unadorned,
painted wall, board floor; the other
of a much-used old-fashioned stove
seen in the comer of an inner room
through two open doors. The allure
to the painter in these subjects may
not be obvious to the lay observer, but
it is the artist's business to discover
beauty in unlikely places and make it
manifest. Mr. Weston disclaims pri
mary interest in the ability to find
expression—in other words, painting
for painting's sake—and insists, quite
rightly, that back of the urge must
be the expectation that what he is
doing is not only worth while at the
moment, but will be of continuing in
terest to others. After all, if this
were not so, painting as an art would
inevitably come to an end.
Mr. Weston in this exhibition shows
not only oil paintings, but water col
ors, paintings in gouache. The latter
are as different in style from the for
mer as could possibly be. They are
for the most part landscapes, rather,
lyrical in quality, none too close to
nature, but of the substance thereof.
In this medium, too, he has done a i
shipyard and some studies of machine i
shops lor murals. These hang in
the back gallery and hall, whereas the ,
oils occupy the main gallery. Mr. ,
Weston has, it will be recalled, been !
commissioned to prepare studies for ,
murals to be placed In the main lobby
of the Federal warehouse in this city. |
His exhibition in Studio House will ,
continue to March 14. ,
Historic Williamsburg Pictured. •
TOM BROWN'S pictures of Wil
A llamsburg, now on view at the i'
Arts Club, are to an extent the fig- ;
ment of dreams—those of the early i
settlers and of recent restorers. Wil- i
liamsburg, the dream city of the New
World that was lost and dead, has i
been brought back to life and greatly ,
reawakened—its life goes on in an ;
atmosphere made up in part of mem- i
cries, in part of reality. This is un- :
doubtedly what Mr. Brown wished to ■
manifest in his paintings and why (
he has avoided too positive expression.
What is more, Williamsburg is a gar- .
den city, once set in the wilderness, :
now overflowing into the country, so :
that each change of season creates a '
change of scene. For this reason the i
artist prefaces his exhibition with a ■
landscape, ‘‘Prelude to Spring,” and ;
ncludes In the catalogue a “Winter
Scene” for contrast.
An interesting characteristic of the j
irork of the early builders in Virginia
ind farther South, as well as North,
vas that the same care in building,
he same fine brick work, the same
veil-considered design, were employed
n the erection of kitchens and bams
is in family dwellings. This is evl
lenced in Mr. Brown’s paintings of
he “Paradise House Bam” and
'Kitchen, St. George Tucker House.”
rhe mansions themselves, such as
•Bassett Hall” and the "Coke—Gar
rett House,” were not pretentious in
hemselves, but they were in most ex
:ellent taste and very livable.
Interest is added to this exhibition
>y the Inclusion of several paintings
nade in New England, such as "Old
..yme Church Tower,” which seem to
It perfectly into the picture of Colo
lial America, and give Indication of
videspread good taste in architectural
lesign on the part of the builders.
Mr. Brown, a member of the So
:iety of Washington Artists, the Wash
ngton Water Color Club and the
landscape Painters, is now living in
Williamsburg, and reports interesting
levelopmant in the restoration work
vhich is steadily being carried forward.
Jot only has the Virginia Legislature
met in the Governor’s palace, but
therein exhibitions have been held
under the patronage of Mrs. Rocke
feller and others.
Old Santa Fe Comes to
Washington.
'T'OO much cannot be said in praise
and appreciation of the wood
block prints by Gustave Baumann,
which, about 40 in number, give at
present colorful charm to the recep
tion room and hall at the Arts Club.
The prints made, no one but the artist
knows how, have the quality of paint
ings without discounting their quality
as prints. They have depth and dis
tance; they have atmosphere and
light; they are essentially of the place
and the time they represent. They
are Santa Pe and the Great South
west.
There is something very remarkable
in Mr. Baumann's color—his greens,
his yellows, his purples. They are
strong and vivid, but never blatant.
What Is more, his accents are always
placed precisely aright. Note, for ex
ample, in "Santo Domingo" the
“punch” given by the black hair of
the Indians. Over the mnntel in the
reception room there is a most inter
esting group—a seascape in the cen
ter, blue, jewel-colored water, swing
ing upward in easy, lazy movement
to reach the sky, flanked by two pic
tures of blossoming trees—one white,
the other pink—silhouetted against
silver skies; while above is a decorative
study—which any modernistic would
equally admire—of a tulip flower with
its clean-cut foliage—rhythmical, very
simple, beautiful.
Mr. Baumann’s treatment of trees to
significant, either singly or en mass—
for instance, "Redwoods,” "Singing
Wnrvlt ” “Mnnntoin fl/vlH *• 'TWtnn_
woods.” In “Punch Hunting Chip
munks” there is a touch of humor,
and in “White Desert” an element of
the dramatic. This Is a very en
gaging collection and one which
should arouse much interest. The
Arts Club generously opens its ex
hibitions to the public from 10 to 5
o clock on week days and welcomes
interested visitors.
New Portrait of Wilson.
TyjISS CATHERINE C. CRITCHER
of this city has just completed
a portrait of the late President Wilson
which will be placed, with appropri
ate ceremony, in the Wilson High
School on March 10. It is the gift
to this school of the Washington
Chapter of the alumni of Mr. Wil
son’s alma mater, the University of
Virginia. This portrait, which is a
little more than head and shoulders,
but does not include the hands, shows
the ex-President as a comparatively
young man., hair slightly graying, but
strong of frame and not careworn.
He has on a black suit and dark-col
ored tie and is seen against a back
ground of well-filled bookshelves. It
is a composite portrait made from
several photographs, a charterization,
and as such most admirable. Because
it is to go on a high wall in a large
hall it is purposely a little over life
size. The face is turned slightly to
the left, but the eyes look directly to
ward the observer and are very seeing
and kindly. The chin is long, the
jaw firm, but the expression is gra
cious. It is the face of a scholar, an
idealist and at the same time an ag
gressive leader. It is typically South
ern, which is unusual in portraits of
“The Studio Mirror" a self-portrait by Harold. Weston, on
exhibit at the Studio House.
Chief Justice in Bas Relief Echo of College Gratitude
-- <«-—.—
Portrait Is Work of Raul,
and Presented by Delta
Upsilon Chapter.
A PORTRAIT in bas-relief of
Chief Justice Charles Evans
Hughes, designed and modeled
by Harry Lewis Raul, has been
placed on exhibition in the Corcoran
Gallery of Art this week as a loan from
the Chief Justice.
It is a large panel in plaster, with a
bronze patina, and shows the Chief
Justice life size, in profile, wearing his
robe of office. The sculptor began it
in this city about a year ago, but fin
ished it in his Summer studio in the
Pocono Mountains. The Chief Justice
gave him sittings here in his home
and later drove over the mountains
from Skytop, from time to time, for
sittings in the artist’s studio.
The original, of which this is a rep
lica, has been given permanent place
ment in the Delta Upsilon fraternity
house at Lafayette College, Easton,
Pa., where it was lately ceremoniously
unveiled. Both it and the replica pr*>
sen ted Chief Justice and Mrs. Hughes
were given by the Lafayette Chapter
of this national fraternity.
There is an interesting story in con
nection with this presentation. When
Charles Evans Hughes was a student
at Brown University, he, with five
other members of the Delta Upsilon
Fraternity, went to Lafayette College
and Instituted a chapter there. That
was in 1885. Twenty years passed and
Mr. Hughes had become Governor of
New York, but the Lafayette Chapter
of the Delta Upsilon Fraternity was
still meeting in the little upper room
>ver a store in which it had come into
/*»
being. One night the Governor, with
his uniformed aide, appeared at a
meeting, rebuked the members for al
lowing their fraternity to lag behind
others, incited their ambition and laid
4

a check for $1,000 on the table as his
gift toward a fraternity house. Ths
five other members of the original or
ganizing group from Brown made like
contributions and the house was built.
1
Lafayette College Memory
of Benefaction Brings
Exhibit Here.
One of the members of the Delta
Upsilon present on that memorable oc
casion was a young freshman named
Harry Lewis Raul destined to become
widely known as a sculptor. Most fit
tingly. he was chosen by the alumni to
model the portrait of the Chief Justice
to memorialize his generosity and at
tainments.
Harry Lewis Raul was born in Eas
ton, Pa., but studied in New York and
Philadelphia under Elwell and under
Grafly. Among his most distinguished
works are “Old Glory," soldiers’ monu
ment, West Chester, Pa.; Julia Dyck
man Andrus Memorial, Yonkers, N. Y.;
“War Mothers' Memorial," Philadel
phia; "Christ the King,” Loyola
House Retreat, Morristown, N. J.; Bar
ton Memorial Tablet, Berea, Ky.
He has also modeled strong and im
pressive heads of Lincoln, of Beethoven
and of Dante, as well as numerous
imaginative or fanciful compositions
such as “Light on the Sea,” “Tears"
and others.
Mr. Raul has been an active mem
ber of the American Artists’ Profes
sional League and has done much to
promote, through local organizations,
the appreciation of art He is a stanch
believer In America and American
training for American artists.
The portrait of the Chief Justice will
remain in view, in the room set aside
for the display of American sculpture
at the Corcoran Gallery of Art for
several weeks, after which it will go to
the National Gallery of Art for an in
definite period.
a
Portrait in bas-relief of Chief Justice Charles Evans Hughes,
by Harry Lewis Raul, on exhibition at the Corcoran Gallery of Art.
BULLETIN OF EXHIBITIONS.
Corcoran Gallery of Art—Per
manent collections. Special ex
hibition etchings by John Taylor
Arms, opening March 2.
The Washington Water Color
Club’s annual exhibition, closing
March 1.
National Gallery of Art, United
States National Museum—Per
manent collections and special
exhibition of Spanish fans.
Smithsonian Building—Exhibi
tion etchings by Mildred Bryant
Brooks of Pasadena, opening
March 2.
Freer Gallery of Art—Perma
nent collections, paintings, etch
ings and drawing by Whistler.
Oriental paintings, bronzes,
sculpture, potteries, etc.
Phillips Memorial Gallery
Permanent collection paintings by
old masters and modern artists.
Studio House—Exhibition of
paintings in oil and gouache by
Harold Weston.
Textile Museum of the District
of Columbia—Rare and beautiful
textiles, rugs and embroideries, j
chiefly of the East.
Arts Club of Washington—
Paintings of Williamsburg, Va.,
by Tom Brown and color block
prints of Santa Pe and the
Southwest by Gustave Baumann.
Library of Congress—Prints
and drawings from permanent
collection. Exhibition of illustra
tions by Alice Barber Stephens.
Junior League Gallery—Exhibi
tion of photographs by leading
pictorial photographers.
Howard University Art Gallery
—Exhibition of lithographs and
etchings by Kathe Kollwitz.
Public Library, main building—
Photographs by George W.
Harris. Northeast Branch—
Twenty women painters. South
east Branch—Landscape Club.
Georgetown Branch—Works by
Washington artists.
District of Columbia League of
American Pen Women—Paintings
by Edna Webb Miles.
International House. Y. W. C*
A.—Exhibition of paintings by
members of the Society of Wash
ington Artists.
Dumbarton House—Permanent
exhibition of furniture and fur
nishings of the early republic.
*'Coke-Garrett House, Williamsburg, Va.u A painting by Tom Brown, on exhibition at the Arts Club.
“Venetian Filigreean etching by John Taylor Arms, to be
included in the exhibition at the Corcoran Gallery of Art, open
ing Monday, March 2.
i
Wilson, and yet presumably correct.
There is, of course, a prejudice against
post-mortem portraits which to an
extent is unreasonable—the great are
not memoralized while living—and
almost every sculptured memorial
statue or head has been done, not
even immediately, but long after
death. Miss Critcher has given her
portrait of Mr. Wilson profound study
and has evolved a type as well as a
likeness.
The Photo-Pictorialists at the
Junior League.
A LTHOUGH there are some inter- |
esting prints in the exhibition of
photographs which opened the first j
of this week in the Junior League's
new gallery, the show as a whole is
not especially notable. Very little
originality or individuality is shewn
and only a few of the prints have
decorative quality which is the dis
tinguishing mark of the new photog
raphy of today. In two or three in
stances efTort has apparently been
made in this direction, but with futile
result—log ends, for instance, do not
make a picture or even a pattern
unless actually designed. There are
some good portraits, which if not ef
fective at a distance, are intimate and
personal—such as "Toscanini," by
Arnold Genthe; “The Surgeon," by Dr.
Walter Boyd, and Van Vechten's por
trait of "Anna Roosevelt Boettiger.”
There is a very lovely nude by Edward
L. Adams and an interesting figure
study. "The Seamstress." by Elwood
Street, while in composition, subject
pictures outstanding arc "Oh. Come,
Let Us Adore Him,” choir boys on the
steps or the cathedral altar, siinouettcd
against their own shadows, by Jackie
Martin, and • After the Storm." line
men strung up dramatically against
the sky, the work of Frank A. Werner.
But, after all, one has to return to
the conclusion that artistic as pho
tography may be and is, the camera
as a medium has many limitations,
that it can never actually compete
with painting or the graphic arts. Its
true function is undoubtedly as a
witness to reality, something intimate
and personal, but never to be hung
on a wall.
Exhibitions Change.
'T'HE first of next week the exhibl
1 tion of etchings by Levon West in
the Smithsonian Building closes and
will be replaced by one of etchings
by Mildred Bryant Brooks of Pasa
dena, Calif. At the Public Library the
water colors by Hugh Collins will come
down and photographs by George W.
Harris of this city will go up. In the
Art Gallery of Howard University an
exhibition of lithographs and etchings
by Kathe Kollwitz—a brilliant artist—
is scheduled to open on March 2, to
continue to the 14th. In the National
Gallery of Art section of the United
States National Museum a large and
very interesting collection of Spanish
fans, assembled by the late Duchess
D'Arcos, has been placed on view.
Beginning tomorrow, March 1, a col
lection of original illustrations by the
late Alice Barber Stephens will be
exhibited. The Washington Water
Color Club's annual exhibition may
bs seen in the Corcoran Gallery of
Art tomorrow afternoon, but then
comes to a close.
Career Women in Congress
iVAHlunuea rroin rust i
most popular dinner guests in Wash
ington, with nary a party restriction.
Mrs. Kahn was educated in the
San Francisco public schools, later
graduating from the University of
California. Whereupon she taught
history and English in the high
schools of Sftn Francisco. In 1899
she married Mr. Julius Kahn, then a
member of Congress representing the
fourth congressional district. Mr.
Kahn was in Congress for about 25
years. So Mrs. Kahn actually had
25 years of political background for
her highly important legislative job.
A LWAYS she has been a close stu
**■ dent of national affairs and a
keen observer of the political pano
rama. On February 17, 1925, the
Governor of California called a spe
cial election at which Mrs. Kahn
was elected to succeed her husband.
She has been re-elected to each suc
ceeding Congress.
During her 10 years’ service in the
House. Mrs. Kahn has served on nu
merous important committees, includ
ing: Education, Census. Coinage,
Weights and Measures. During her
second term she was made a member
of the Committee on Military Affairs,
one of the most powerful of all. At
the start of the present Congress she
was placed on the Appropriations
Committee. Like Mrs. O’Day, she has
two handsome sons. Both live in
California. She stays at the May
flower Hotel.
Edith Nourse Rogers of Massachu
setts is the only other Republican lady
of the House. With the exception of
Mrs. O’Day she is on more important
committees than any of her fair col
leagues. They are: Civil Service.
World War Veterans’ Legislation and
Foreign Affairs. She has been on the
Veterans’ Committee since 1925 and is
now the ranking member, and the
second ranking member of the Civil
Service Committee. Rank is deter
mined by the length of service.
Mrs. Rogers represents the impor
tant fifth congressional district, which
takes In her home residence town of
Lowell and has a population of over j
300,000. She is a wealthy widow of
a fine family. She was born in Saco,
Me., and went to some very swanky
schools, including Rogers Hall, in
Lowell, and Mme. Julien’s, in Paris.
Capable, energetic and a born fight
er, Mrs. Rogers has an enviable record
in public affairs. She has been in
Congress about as long as Mrs. Kahn
—more than 10 years. She is tall, gra
cious in manner, with the quiet dig
nity and assurance of the typical blue
blood New Englander.
Mrs. Rogers was elected to the
House to fill a vacancy caused by the
death of her husband, the late John
Jacob Rogers. But she has been re
elected to every succeeding Congress
for one reason only—sheer ability. Al
ways a rock-ribbed Republican, the
New Dealers haven’t been able to de
feat her or even to diminish her
power in the slightest degree. As
proof of this, she was re-elected to
the Seventy-fourth Congress, receiving
75,754 votes as against 46,135 for her
Democratic opponent.
Some six or seven years ago Mrs.
Rogers earned the distinction of being
the first Congresswoman to instigate
and pass a major bill. This was an
important appropriation for veterans’
hospitals. .
Although a "regular” Republican,
Mrs. Rogers does not hesitate to follow
her conscience rather than her party,
when a matter of national Importance
is under consideration. Recently, for
instance, when Secretary of Com
merce Roper, one of President Roose
velt’s right-hand men, requested her
to put through a certain bill, she in
troduced it immediately. Its subject
was the national unification of traffic
legislation and it calls for an ex
penditure of $50,000 to Investigate the
present situation.
y
inaianciaa scrapper if eviaencea
by the fact that not long ago her
Foreign Affairs Committee reported
favorably on the pending neutrality
bill. But she herself did not, declaring
emphatically that she did not approve
of its major clause, placing the power
to declare war in the hands of the
President; whereas under our Con
stitution this is the proper job of Con
gress and not the Nation's Chief Ex
ecutive.
Representative Virginia E. Jenckes
of Terra Haute, Ind., looks enough like
former President Woodrow Wilson to
be his sister. Yes. even to the pince
nez, prim and aloof manner and alert
eyes that gkze at you inquiringly.
She's the college professor type to the
core and employs a publicity man. She
also maintains two girl stenographers
and they seem to be busy all the time.
Mrs. Jenckes takes a wholehearted
interest in patriotic activities and
farm relief and has been active in
woman’s public work and politics since
about 1912. She represents a very
important district, the sixth, in In
diana, taking in the town of Terra
Haute and 10 counties with a total
population around 300,000.
The Indiana Congresswoman has
one daughter. Miss Virginia Ray
Jenckes, and lives in a modest apart
ment in Washington. She was elected
to the Seventy-third Congress, defeat
ing two men, one a Democrat and the
other a Republican, in the general
election. She was re-elected to the
present Congress by a comfortable
majority.
--•
Hard Winter Ends
_(Continued From Second Page.)
year after year, with those for New
Haven. The Washington Winter curve
shows almost the same fluctuations for
a hundred years. There is only one
marked break—the war years of 1917
and 1918—when the District had some
of the most severe Winter weather in
its history, while the temperatures in
New England were close to normal.
Such, by the way, has been the case
this year. It is one of those puzzling
variations which meteorologists can
not explain.
QTHER American records are not so
old, nor so reliable, as those for
Washington and New Haven. Mr.
Kincer has plotted scores of them.
Almost Invariably they show the same
general tendencies—with due allow
ance being made for lofcal variations.
Mr. Kincer's curves demonstrate
only that weather does move in
spasmodic cycles. What goes up must
come down, but it may go up fast and
come down slowly, or vice versa. Sum
mer always wUl follow Winter and a
warm period will always follow a cool
period after a time lapse roughly
analogous to the particular kind of
cycle one is concerned about. It may
be 50 years, 10 years, 1,000,000 years.
The curves shed no light on why we
have cold Winters. They don’t seem
to fit into any consistent pattern.
-♦.
Anxious to have Spring arrive ahead
of time, a gardener at New Plymouth.
New Zealand, utilized electric current
to warm his soil and thus hasten the
growth of his plants. The electricity
board then decided that his equipment
is similar to the heater of a chicken
brooder, and the gardener must pay
poulterers’ rates.

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