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Evening star. [volume] (Washington, D.C.) 1854-1972, March 21, 1936, Image 19

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Telephone Enthusiasts Represented in
Collection—Splendor in Fan Types
Norwegian Purchase of Art.
“Abstractionist" by Nat Norman, included in the exhibition
of pictorial photographs by the Associated Telephone Camera
Clubs, at the National Museum.
“The Market,” by Alice Acheson, on exhibition at the Studio House.
“Farragut Squareby Robert Franklin Gates, on exhibition at the Studio House.
By Leila Mechlin.
AN INTERESTING and most ex
cellent exhibition of pictorial
photography is now on view
in the National Museum, Arts
and Industries Building, section of
photography. These prints are all by
members of the Associated Telephone
Camera Clubs, employees of the Tele
phone & Telegraph Co. commonly
known as the ‘‘Tel and Tel.” Obviously,
therefore, it is the work of those who
practice photography as a hobby, but,
like all hobbyists, they are enthusiastic
riders and spare no pains to attain suc
cess. This determination, care and
enthusiasm show in their prints. For
subjects they have gone far afield, but
in merit of transcription they are
well matched—extremely even. And,
after all, those fundamental prin
ciples which govern all works of art—
composition, relation of light to shade,
line and rhythm—are controlling in
photography as in all the graphic arts.
Not only have these photo-pictorialists
chosen good subjects, but they have
rendered them with great sympathy
choosing just the right moment to get
a desired effect. This is art and of a
very genuine sort.
There are in this exhibition some
admirable portraits and figure studies.
Two of these, by K. A. Kjeldsud, are
more like drawings than photographs,
exquisitely delicate in delineation, but
neither vague nor exaggerated. In ap
pearance they are like silver points.
Equally charming is a study by E. S.
Hemsted entitled "Motherhood.” From
Nat Norman comes an engaging
portrait of an "Abstractionist.” an
artist working on an abstract composi
tion. R. S. Kennedy’s portrait of "W.
K.” is likewise an excellent piece of
work, strong in modeling character
istic not forced.
T. M. Odarenko shows two pleasing
compositions—one of horses on a hill
side silhouetted against a sunset sky—
the other of a heron in the water ob
serving its own reflection. Subjects
so handled have not only technical
merit, but imaginative appeal. Edward
Alenius contributes two studies of sky
scrapers which have pictorial con
tent—"Downtown New York” and
“Step by Step”—the latter showing a
group of "set-backs.” "Manhattan
Mist,” by M. S. Thomas, is outstanding
for atmospheric effect. “Across the
Sun,” by J. M. Bridges, and "Before the
Wind," by J. C. Sellers, both are charm
ing boat pictures. There are some
good still-life studies, such as "Decora
tive Panel,” by H- M. Larsen, and “A
Cellar Corner,” by Edward Alenius.
Occasionally a print is found to have
a glint of humor, or a very human ap
peal, aside from picturesqueness or
charm of characterization. “Can I
Make It?” by J. C. Dassler, is a squir
rel in a snowstorm as seen on a win
dow-sill. anxiously measuring a jump.
The question is, “Did he make it?”
There are, in addition to these prints
mentioned, others of equal interest and
merit—telephone wires against the sky.
architectural themes, landscapes. All
In all, it is a most enjoyable and
creditable showing.
Fans and
tTHE collection of fans assembled in
l-*- Spain by the late Duchess d’Arcos
(nee Virginia Woodbury Lowery of this
city) and bequeathed to the National
Gallery of Art. is beautifully displayed
In one of the small galleries on the
second floor of the National Museum^
Tenth street and Constitution avenue.
Spread out in two flat cases, in the
center of the room, 14 in one, 13 in
the other, they can be well seen and
studied. Two, possibly more, are Ori
ental, but the majority are Spanish
and vividly recall scenes of romance
and of splendor. And what part fans
have played in court life in the past!
How much they have meant to Spanish
ladies peeping from behind them! How
almost essential they have been con
sidered as an adjunct of the dance!
Oftentimes, as one sees in this collec
tion, these fans were the work of
accomplished artists and craftsmen.
Not a fan in this exhibition is minus
carved sticks and painted folds. The
paintings are of mythological sub
jects, of court life, of historical scenes
artistically and colorfully displayed.
The sticks are of Ivory, wood and am
ber, exquisitely carved, gilded, and in
one instance lacquered. It is a most
Interesting array.
As a setting for this exhibit of fans,
the walls of this gallery have been
rehung with paintings by American
artists, mostly drawn from the William
T. Evans collection, which accord in
color and tone, and collectively create
an appropriate atmosphere. The ma
jority of these paintings have, on
account of lack of space for display,
been for some time in storage and
their return gives pleasure as of re
newed acquaintance with erstwhile
friends. Here are two paintings by
George Inness, "Georgia Pines” and
“Niagara.” both unusual subjects, very
deftly portrayed. Here is Twachtman's
“Torrent,” a most typical example
one of his best—and Theodore Rob
inson’s lovely French landscape, in high
key, dominated by a provincial church
spire, to say nothing of Murphy’s
entrancing "Indian Summer,” like a
violin aonata, and Blacklcck’s two
sonorous landscapes, deep toned and
resonant. There are two heads—good
to see again and at any time—a por
trait of Walter Shlrlaw by Duveneck
and a girl's head, without name or
identification, by George Fuller.
Recalling the days of genre paint
(\ A
ing—which, by the way, is having new
vogue today—are paintings by Alfred
C. Howland and W. T. Smedley—the
former “Friendly Neighbor,” a farm
scene; the latter “Gossip," a man lean
ing on a window sill and conversing
with a woman, busy with homely
duties within. The subject picture
has been brought back to attention by
the emphasis placed by the P. W. A. P.
on the American scene and by exhibi
! to today, that thoroughness of knowl
edge, technical skill, are in any way
I a handicap to the creative artist.
Homer began as an illustrator and a
genre painter, he developed into one
of the strongest, simplest, most ele
mental painters of the past century—
perhaps of many centuries. He had
| imagination and power, but he did
I not try to walk before he could creep—
[ he knew the value of self-discipline
these young artists’ fresh and lively
interpretations. (F. S. B.)
'T'HE new competition for sculpture is
for large panels in relief to decor
ate the facade of the Bronx Posti Office.
The subject is to be appropriate to a
Post Office, the style in keeping with
divided as to subject types; two por
traits, one flower and still life, three
each of birds, ships, river and harbor
scenes, and trees, five landscapes with
buildings, two industrial scenes. All
are painted with fluid color, and broad,
sweeping brush strokes.
In “California,” Miss Brown pro
duces a sense of sunshine, spaciousness
and clear atmosphere, apparently by
A number of Miss Ryerson's etch
ings represent children playing on j
musical instruments. The simplest
children to keep still, she said, are
musical children, for whom radio and
singing work magic. Preoccupation
with piano and violin produce the most
unconscious posing any artist could
want. Miss Ryerson started to paint
settlement children one Winter, when
she taught a hundred little Italians
in an East Side church school; she
has subsequently sketched all kinds
of children, rich and poor, and of
various nationalities. Consequently,
she has some interesting comments
to make about them. She has found
Jewish children, generally, the most
musical, as they will listen spellbound
to music, while the Italian child wants
to join in and sing himself.
The charming little etching called
“Andante,” depicting a little girl, evi
dently weary of practicing, to judge
by the droop of her body and hair
falling over her cheek, has recently
been acquired by four museums: The
Nelson Gallery, Kansas City; the
Montclair (N. J.) Art Museum, and
others in Hawaii and Ohio. tF. S. B.)
Donna Crabtreee
^N EXHIBITION of paintings by
Donna Crabtree opened last Sun
day afternoon at the Burlington Ho
tel, in the rooms of the League of
American Pen Women. It may be
reviewed next Sunday. IF. S. B.)
Exhibitions. ]
The Society of Miniature Painters,
Sculptors and Gravers of this city
held a meeting recently and elected
the following officers for the ensuing
year: President, Frederich W. Von
Dachenhausen; secretary, Allen Sher
win, and treasurer, Katerine Page.
Plans are being made for an exhibi
tion next Winter, none having been
held during the current season.
The Society of Washington Artists
is assembling an exhibition to be
shown in the And-rison Gallery of
William and Mary College, Richmond
branch, at the invitation and under
; the auspices of the Richmond Academy
; of Art, the descendant of one of the
■ oldest art organizations in this country.
From the most recent annual ex
hibition of the Washington Water
Color Club, at which, incidentally, four
paintings and nine prints were sold,
; a traveling collection, consisting
! chiefly of works by local artists, was
j selected by the American Federation
j of Arts to send on an extended circuit.
In the Public Library, Takoma Park,
' Md., an exhibition of portrait, land
scape and still life paintings by Mrs.
\ Cherry Ford White has lately opened,
to continue for five or six weeks. Mrs.
i White is a charter member of the Arts
Club of Washington and has exhibited
extensively here and elsewhere.
Second Washington
j Independent Show.
DECAUSE of the interest shown in
and the success of the First Wash
. ington Independent Show, a second is
now planned. A preliminary meeting
for organization has been held at Mrs.
Eugene Meyer's residence, at which
Mr. Charles Bittinger, president of the
Society pf Washington Artists, was
appointed chairman.
—r - .— ' ■ — . ——
Left "A Teton Scene” by Charles B Robertson, and right, “Before the Wind,” by J. D. Sellers, included in the exhibition of pictorial photographs by the Associated Telephone Camera Clubs at the
' ‘ ’ . National Museum.
tiona of genre paintings by great
masters held last Winter in Paris and
in New York. This season a collection
of American genres has been making
a circuit of American Art Museums,
lately being displayed in the Carnegie
Institute, Pittsburgh. Truly the world
goes around and around even more
certainly than on and on.
But to return to the paintings in
the National Gallery. Places of dis
tinction in rehanging have been given
to a marine by Hobart Nichols, a land
scape by Chase and an idyllic figure
composition by P. Ballard Williams.
There is also a marine by Leon Dabo,
painter and writer, disciple of Whistler,
and there are landscapes by Wyant,
Lathrop and Charles H. Davis—the
last distinctly a masterpiece. Hang
ing space is at a premium in the Na
tional Gallery of Art’s present restrict
ed quarters and storage rooms are
regrettably full, but on the whole it
may not be bad to have works tempo
rarily withdrawn in order to bring
them back for fresh inspection with
added appreciation, as in the present
In the hall adjacent to this exhibi
tion have been hung Alphonse Jongers’
portrait of the late William T. Evans
and Irving Wiles’ portrait of John
Gellatly, both generous donors to our
National Gallery—men of wealth who,
after making their donations to the
Nation, lost their fortunes and died
in greatly restricted circumstances.
They should not be forgotten.
National Gallery of Art
Lends to Public Library.
'J'HE National Gallery of Art has
lent to the Public Library five
important and interesting canvases
from the William T. Evans Collection,
which have been hung on the walls of
the art reading and reference room in
the main building. Three of these
are portraits by three very distin
guished American figure painters. One
is a head of Henry Fuller, the mural
painter (so admirably represented in
the Library of Congress) j when he was
a little boy, and is the work of his
famous father, George Fuller. One is
a portrait of the painter, Wyatt Eaton,
by J. Alden Weir—a token of friend
ship. The third is of a young girl,
Jessie J. Burge, by Abbott H. Thayer,
than whom America has produced no
greater painter. Each of these por
traits is very different from the others,
but all three evince, on the part of
the painters, spiritual Insight and are
truly interpretative. Doubtless in
style they belong to a day that is past,
but because of this, their real value
is by no means diminished.
In addition to these portraits, the
National Gallery loan includes a
famous and very beautiful nocturne—
a seascape—by Ryder, and a genre by
Winslow Homer. The latter, entitled
“The Visit of the Old Mistress,” was
painted in Petersburg, Va., in 1876. It
represents the interior of a Negro
cabin. The Old Mistress—“Ole Miss”
—has come to see that all is well
with her ex-slaves. The family have
risen to greet her and are gathered
in an interested, smiling group. This
picture was first purchased by Thomas
B. Clarke, but at his sale in 1899, was
bought by M. H. Lehman, from whom
it passed to William T. Evans and
eventually to the National Gallery of
Art. It is interesting, not only as an
historical document, but as evidencing
the folly of supposing, as many seem
' and equipment, he acquired freedom
through submitting to bondage, and
hence was able to use it not merely
well, but magnificently.
j i
, Paintings by American Artist
Purchased for Legation.
'TWO paintings by an American
A artist. William H. Singer, jr., were
purchased last Summer by Norway
to hang here in the Norwegian Lega
I tion. They are both of Norwegian
1 scenery, of which, during many years
residence in Norway, Mr. Singer has
made profound study. When Mr. Sin
ger exhibited recently in the Galerie
Schusterman, Paris. Camille Mauclair.
one of the leading French critics, had
the following to say of his work:
"Mr. William H. Singer, jr., has
perfectly understood that a landscape
must be a transcription of nature, but
that it only deserves to be called a
work of art if the artist, with all due
respect to the truth, rises to a per
sonal interpretation—gives us, in a
language of his own, the blended re
sult of sense and intellect. Norwe
gian scenery captivated him—he fath
omed its character—he lived and med
itated long among it in various sea
sons—he learned it by heart. Then
he composed, and his compositions
are poems—realities with all the magic
of dreams. • * • They are by turns
intimate and majestic. They are very
silent with the silence of nature. Like
certain poems of Heine, Keats and Poe,
they hold some faint and surpassing
Most of Mr. Singer’s paintings of
Norway are Winter scenes—snow pic
tures—painted with short strokes and
in a high key, yet very subtle, recog
nizing, as do the Japanese, snow as a
pause, something gentle and envelop
ing, rather than hard, brittle, and
associated with storm and force. Bom
in Pittsburgh and a student at the
Julien Academy, he has lived most of
his life abroad, but never lost his in
terest in art in America. It was
through the generosity of Mr. and
Mrs. Singer that the Washington
County Art Gallery, in Hagerstown.
Md., came into existence and has been
sustained. Exhibitions of his paint
ings have been held in New York, Sa
vannah and other cities. He is rep
resented In yie National Galleries of
Norway, Holland, Belgium and France,
as well as in the leading museums of
this country. The Royal Order of St.
Olaf was conferred upon him by the
King of Norway in 1929. In recent
years he had divided his time between
Norway and Holland.
Mural Paintings jor Justice
Department Building.
T"*WO new competitions—one for
three murals for the Department
of Justice Building and one for sculp
ture for the facade of the Bronx Po6t
Office, New York—are announced in
the lately issued bulletin of Treasury
Department Art Projects, Public
Works Branch, Procurement Division.
The murals are each to be 7% feet
wide by 11*4 feet high; are to go in
lobby No. 9 on the first, second and
third floors of the Justice Building
and will cost $2,000 apiece. Designs,
rendered preferably in oil on canvas,
are to be on the scale of 2 inches to
the foot and must be submitted by
June 1. Artists who submit outstand
ing designs which are not accepted
may have the consolation Pf being
"seriously considered” for appointment
to do murals for other buildings, for
which the contracts will be given out
The jury, which will act in an ‘‘ad
visory capacity” to the section of
painting and sculpture for this com
petition. will comprise Edward Bruce,
Olin Dows, Leon Kroll, Ernest Peix- j
otto, Henry Schnakenberg, Jonas Lie, j
Bancel La Farge and Eugene Speicher, j
none of whom, unless Mr. Peixotto be :
excepted, is a mural painter. Juries j
as a rule are judicial bodies, render
ing judgment, making awards. Under
any other circumstances they are mis
named and without authority. But
that is perhaps neither here nor there
in the present instance.
The subject matter, according to the
program for this competition, must
deal with some phase of the admin
istration of justice in relation to con
temporary American life—and in order
that these panels may accord with
others already under construction, the
following themes are suggested: 1.
Man—Justice toward labor. 2. Wom
an—Emancipation of woman through
suffrage. 3. Child—Protection of the
child by child labor laws and old
versus contemporary juvenile courts.
What the competing artists will make
out of these suggestions remains to
be seen.
Nowhere in the program of com
petition is the suggestion made that
a mural painting must, in the first
place, be a decoration. But possibly
that is so obvious that It is taken for
granted. Also there is another rule
that seems to have been overlooked,
and that is that which is for all time
—permanent placement—must be
conditioned on universal truth if its
interest is to endure as well as its
significance. After all, why waste
time and money recording contempo
rary progress which will soon be out
dated? Why not rather look to the
future, and foreshadow our dreams—
then would art lead us on to greater
and finer achievement.
Six painters have already been
commissioned to execute murals for
the Justice Department Building, and
some of these panels are well under
way. The names of the painters and
the subjects that they are interpreting
are given with the program of the
new competition, as follows: George
Biddle. “Tenement and sweat shop
conditions versus society planned with
Justice”; John Steuart Curry, "The
movement of the population westward
across the country, and the freeing of
the slaves”; Leon Kroll, “The defeat
of justice and the victory of justice”:
Henry Vamum Poor, "Bureaus of
prisons, pardons, customs, land of Jus
tice Department” and “famous legal
cases”; Boardman Robinson, “The
great codifiers of the law, ancient,
medieval and modern”; Maurice
Sterne, “The search for truth and the
history of Justice.” Sections of Mr.
Biddle's murals, which are in true
fresco and will, it is said, be finished
during the coming Summer, have been
emit* wiriclv nubllshed in rmrnrinrHnn
Paintings of Washington
At Studio House.
THE exhibition of water colors by
Robert Franklin Gates and of
paintings and prints by Alice Ache
son. which opened at Studio House
with a private view on March 14, is
strong, vital and subjectively interest
ing. Nearly all of Mrs. Acheson’s
works, and a number of Mr. Gates’,
are views of Washington and vicinity.
Mr. Gates shows river and land
capes and street scenes, painted gen
, erally in clear water color, dominated
by deep-toned browns, blues and
greens, with heavy accents of black.
Some visitors will doubtless discern
a subtle undercurrent of humor in his
paintings of Thomas and Scott Circles
and Farragut Square. Active inci
dental figures contrast in each case
with the motionless statues sil
houetted against the sky: uncon
cerned hucksters and pedestrians in
baggy trousers pass below the majestic
figure of Gen. Thomas: children on
velocipedes whirl around Scott, and a
flock of pigeons picks up crumbs near
Farragut, poised dramatically above
his cannon. Mr. Gates' well-organized
composition is easily discernible in
such paintings as "St. Clair River,” a
romantic night scene involving a
steamer, a moon and its reflection on
the water. A view of the Potomac
River near Key Bridge and another
at Great Falls are also shown. The
far-reaching landscape in "North Fork
Mountain,” with successive planes of
hilly ranges, is reminiscent of the
method of obtaining distance seen in
ancient Chinese landscape paintings.
In his country scenes, all of Mr. Gates’
farmers are so industrious, laboring
over their hay in the* very “teeth” of
an onrushing storm, or doing their
"Spring Planting.” that one feels they
deserve to be subsidized, if necessary.
No loafers are portrayed in any of
these paintings. Firemen are battling
a "Fire at Dawn” with feverish energy,
but the monstrous flame and smoke
seem to be getting ahead of them.
Mr. Gates’ ability to capture the ob
server’s interest, characterizes nearly
all the paintings in the current show.
Some of them are in gouache, and
the technique is varied according to
the effect desired, but all the work is
infused with vitality.
Mrs Arhpsnn'* and Mr. Gates' naint
ings make a very harmonious display,
yet they are distinctly individual and
could not possibly be confused as to
origin. The majority of Mrs. Acheson’s
paintings are in oUs, with a mat sur
face. She achieves a decorative all
over pattern effect with fresh colors,
by avoiding extensive sky areas, even
In her landscapes. In some instances
she does this by painting a scene as
though viewed from a slight elevation,
thus omitting the sky; or she fills the
sky space with tree branches or foliage
so that only glimpses of it are visible.
The figures in Mrs. Acheson's paint
ings verge upon caricature, yet are so
truthful that one recognizes them all.
She has captured the jaunty angu
larity of young Negroes’ walk in “Go
ing Down the Road,” and in her
“Market" she presents a gallery of
“portraits” seen in any market
place; the heavily-budgeted house
wives, sharply examining the produce;
the casual, well-fed market man; tne
limpness of dead fowls laid out in
decorative rows alongside the vege
tables, and live chickens crowded into
coops, pushing heads out here and
there to pick up a stray grain. One
should not* how the backs of grazing
cows repeat the sloping angles of farm
buildings in "Pasture.” There is a
note of irony in the arresting “Fine
Day.” interpreted by slum dwellers
taking the air on their crowded door
steps and miniature grass plots, witn
their dogs and chickens, and children
on “scooters.” Mrs. Acheson also
shows a few woodcuts of Georgetown
houses, beautifully cut, strong and in
cisive. This exhibition will remain
through March 28, affording residents
of Washington an opportunity to view
local scenes through the medium of
a building classical in design. The
building is of gray glazed brick on a
gray granite base. Seven thousand
five hundred dollars will be paid for
each of the panels in plaster, the Gov
ernment furnishing material for the
finished work and undertaking to have
the model transformed into marble.
The sketch model and the scale mod
els. approved by the Director of Pro
curement, shall, as well as the finished
works, be the property of the Govern
ment, together with copyright. The
“Advisory Jury" for this competition 1
is made up of Lee Lawrie, Maurice
Sterne, Paul Manship, Edward McCar- '
tan and the architect of the building, j
Thomas Harlan Ellett. The four
sculptors on this committee are all
men of distinction.
Exhibition of Etchings
By J. T. Arms Extended.
'T'HE exhibition of etchings by John
Taylor Arms, which was to have
closed tomorrow afternoon, has been
extended for another week. It has at
tracted much favorable attention and
several sales have been made. How
ever, the record here has not equaled
that of a similar exhibition In New
York last Autumn, when 62 sales were
made and one edition completely ex
hausted. This interest and demand
w’ould seem to show that wrorks of dis
tinguished merit are appreciated, and
that the public is ready to buy that
which is really fine and has intrinsic
beauty. Even a grotesque gargoyle
may have these qualities through artis
tic interpretation, as Mr. Arms himself
has proved.
in an article published in tne "Print
Collector's Quarterly.” in 1934. Doro
thy Arms said this about her husband
and his work, which is so true that it
is worth quoting and remembering:
‘‘John Taylor Arms, a modem mediev
alist, is one of those men, born out of
their times, who have been like re
incarnations of an earlier age. • • •
He is not concerned with the modern
thought which feels that self can only
be expressed by a ruthless disregard
of the past and its traditions and that
nothing is new save the bizarre and
the grotesque. To him art is an end
less chain, to which each sincere artist
adds a link of his own individualism;
and he personally is driven by an un
conquerable force to recall beauty and
the motives which brought that beauty
into being. His prints are not slavish
imitations of the actual physical as
pects of existing structures. Instead,
they rightly may be called spiritual
reconstruction, in which are embodied
all the faith or aspirations or thoughts
of a far-away age. As he recreates he
also creates, imbuing the ancient build
ings he so loves with the medieval
spirit which is, in the last analysis, the
creative force of all times—the need
to give lavishly of one’s self as the one
significant offering worthy to be laid
upon the altar of beauty.”
It is for this reason that this etcher
classed as a ‘‘supreme realist” pro
duces works most appealing to idealists
—primarily interpretative of feeling
and spirit.
Water Colors and Etchings
At Arts Club.
colors, now on view in the gallery
of the Arts Club, reveal not only her
competent handling of her medium,
but also her versatility in choice of
subject matter, and a sensitive feeling
for the distinctive quality of locale.
Her 18 paintings ara rather evenly
such simple means as the height of
her eucalyptus trees and the extent
of sky visible beyond them. Several
paintings of "Boothbay Harbor. Me ,”
are infused with the tang of salt air,
and the steepness of the land rising
out of the water, with its precariously
set houses. Deeper toned, warmer
colors give the characteristic "feeling”
of Charleston. S. C., in her paintings
of "St. Andrews near Charleston,”
"Pet's Place.” “South Carolina Cabin”
and "Ha'nted.” The last-named is
particularly engaging: moss-draped
trees completely overarch a country
road, along which a solitary Negro
trudges. No glimmer of light in the
distance disturbs the "spooky” mood
of this lane of trees. "Pet's Place”
is picturesque and colorful, its red
roofs echoed in the red sweater and
beret of a Negro girl. Miss Brown
utilized the decorative quality of sea
birds in her “Flying Gulls.” In “Break
fast.” she depicted sparrows and other
small birds fluttering down to get the
seed scattered for them on a snowy
morning, outside a kitchen door. She
has made strong compositions out of
commonplace industrial scenes, in
"Rock Quarry” and "Steel Mills In
leuui, zwiapuit.
Miss Brown is a teacher of art at
Central High School. In connection
with her own work on view at the
Arts Club,, it is interesting to see the
work of some of her pupils now shown
at the National Museum, in the public
school art exhibition.
Etchings by Margery Ryerson of
New- York occupy the walls of the
hall and reception room at the Arts
Club. There are also included two
water colors and two water-color etch
ings. She is interested almost ex
clusively in figures, particularly chil
dren and their mothers, as was Mary
Cassatt; but Miss Ryerson's manner
is thoroughly her own. The “childish”
quality of her children is to be noted
in such details as backs of legs, set of
heads, gestures of chubby hands. The
simplicity of her little compositions
and restrained use of her sensitive line
are in harmony with the subject mat
ter. Any one under the delusion that
this delicate figure work betokens in
ability to handle detailed subjects of
other types need only look at the ex
quisite rendering of the “White
House." This plate was made for the
Woman’s Republican party in New
York State at the last election.
II _

r, p

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