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Evening star. [volume] (Washington, D.C.) 1854-1972, November 20, 1937, Image 17

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^——— II II J—
Portrait of "Stevefc»?/ 4?/red Fatica. Cleveland Art School,
included in (he exhibition of oil paintings by college students at
the Interior Department Art Gallery.
By Leila Mechlin.
this week was the opening of
the Museum ol Modern Art.
Gallery of Washington, at
Seventeenth and H streets N.W . a
strategic location, and finely appoint
ed rooms. Here, if anywhere, paint
ings can be seen to their best advan
tage and presumably with utmost
pleasure to the visitor.
Twenty-nine paintings of live mod
ern French painters, no one of whom
Is still living, compose the initial dis
play. selected, it is understood, and
sent to Washington (with the excep
tion of a single example) by the par
ent organization in New York. Eight
of the canvasses have been drawn
from the Museum of Modern Art's
own permanent collection; others have
been borrowed from private collectors
end dealers, the list of the former
being headed by A Conger Good
year. president of ihe Museum of
Modern Art. Obviously it is an m
• teresting show For the initiated it
furnishes material with which to
strengthen or revise convictions, while
for those who have had slight per
’ sonal contact with the art of this
school, it will be revealing m the
n n . r it , .rtlll miC.'UUIU' Vt ill' : l
fan never lx1 satisfactorily answered:
one of these is why are these painters
great, on what foundations do their
reputations rest1 Of the five here
represented Renoir alone speaks in
. such instance for himself, tlie merit
of his work, together with its charm
and beauty, in most instances being
obvious to all. But the four others,
studied m such relationship, bewilder
and confuse
Oier the mantel in the large gal
lery hangs a very typical Renoir. "Le
Piano.” lent by Durand-Ruel, a por
trait of two little girls intent upon
their music, a lovely canvas painted
with the evident delight and fine feel
ing of this great French master.
Nearby, to the right, hangs another
, child portrait by this painter. "La
Petite Margot Berard.” lent by
Stephen C. Clark, exquisitely rendered
with consummate skill and utmost
tenderness There is something very
appealing in Renoir's "Self-Portrait,"
lent by William Taylor, an un
finished work dated 1874. when the
painter was only 33, and very sig
nificant of temperament and charac
ter. Of all the 10 Renoirs in this
exhibition, 'Au Moulin de la Galette.
, lent by John Hay Whitney, is the
most elaborate composition, compris
ing many figures—a scene in one of
the famous cafes, with dancing and
’ jollity, painted in 1876 as a study
for a larger canvas now in the Louvre.
Toulouse-Lautrec painted the same
subject, but with infinitely less gayety
end skill. No one, perhaps, ever
painted couples dancing as well as
Renoir, who in such representation
gives us not only consciousness of 1
rhythm, but the delight experienced
by the dancers themselves.
JT IS a pity that in.this introductory i
exhibition of modern art ihe higii
standard of the best is not maintained
throughout. One laments, in this
particular, the inclusion of a nude
by Renoir, painted in his old age.
which is contrary to his ideal of !
beauty; in short, vulgar and inferior j
in execution. In his later days Renoir !
was paralyzed, but he kept on paint- !
ing, his brush strapped to his wrist. |
•'I have seen two miracles." said Elie J
Faure. "the Battle of the Marne and
the aged Renoir painting."
A most interesting inclusion in this!
exhibition is a self-portrait by Paul ;
Gauguin, lent by William Taylor, j
and dated 1874 (the same year as j
the Renoir). This is essentially in the I
old tradition, painted as did the great I
Italian masters, with glaze upon glaze,
applied to the opaque undercoat. It
fairly glows with color, as from
within: the surface is .so fine it tempts
the sense of touch, the drawing is
impeccable, and what is more, we learn
from it something of the man himself,
the spirit within. This was done 19
. years before the painter sailed for
the South Seas, declaring that civiliza
tion was the disease of art and that,
having lost their savagery, artists no
longer had strength to create.
The examples of Gauguin's Tahitian
paintings which are included in this
exhibition witness the ease with which
hampering restrictions of custom and
tradition can be thrown away. Com
paring his canvas painted in 1888.
"Keeper of the Pigs,” lent by Wilden
atein (too late to be catalogued), with
his Tahitian works, one must admit
• that the downward trend had set in
before he gave up banking and his
native land. But in the Tahitian can
vases there is more individuality and
strength, the glamour of the South
Seas environment was apparently felt.
Is this, one Rsks one's sell, sufficient to
assure immortal lame? Was not the
very rare talent which found expres
sion in his early self-portrait bartered
for the traditional mess of pottage?
VyiTH Gauguin is invariably asso
ciated the name of Van Gogh,
an utterly different personality, fanat
ical. unmoral, rather than immoral;
eager to show kindness, to do good,
agonizingly temperamental, completely
unbalanced. No painting by Van Gogh
but reflects his troubled mind and, at
the same time, his intensity of feeling.
* His "Sunset Over a Ploughed Field."
lent to this exhibition by Robert
Oppenheimer, through the courtesy of
, tha Museum of Modern Art. is one of i
ttw loveliest and best landscapes he 1
| ever painted, very characteristic and
with a touch of serene beauty. "The
House on the Crau" is also much finer
and more sympathetic than usual.
"Night Cafe," lent by Stephen C.
Clark, is a famous and very char
acteristic canvas, typical of restless
confusion on the part of the painter,
but also of his extraordinary ability
to represent commonplace things with
startling reality. It is to be regretted
I that none of Van Gogh's portraits of
I his friends, such as "The Woman of
Arles" and "The Postman," could have
been included in this group.
Georges Seurat is represented by
three examples, of which "Sunday a la
Grande Jatte" is most famous, but
"Side Show" i"La Parade"! is per
haps more engaging. The former, lent
; by Adolph Lewisohn, was a study
for the painting by the same title
now in the Chicago Ai t Institute, pur
chased by Mr. Bartlett for the Birch
Bartlett collection for a few thousand
dollars. The Louvre has asked the
privilege of acquiring it at a cast of
half a million dollars, and been re
fused. Both this and the "Side Show"
are painted with little dots of color,
ni accordance with the French int
piessionists school, which give atmes
phere but destroy surface texture.
P IN ALLY we come to Cezanne, the
supreme luminary, according to
, present report of the group which has
lauded to the highest pinnacle the
French modernists and their works
Cezanne was the only painter, of all
lime, given an entire gallery in the
Century of Progress Exhibition, held
in Chieago in rerent tears. By per
tain eritiral writers he has been ae
I claimed the greatest artist of the 19th
century, but none was ever clumsier
than he: none, in their own estima
tion. ever more unsuccessful.
Strangely, under these conditions
there has grown up around Cezanne a
myth which seems impossible to brush
aside or to understand. His idea was
to attain solidity of expression through
the manipulation of color, but he con
tinuously fumbled and failed. His
drawing is poor, his expression in- 1
adequate, if not ignorant. No one
doubts Ins sincerity, but sincerity, un- !
backed by talent and skill, is not suf- ;
ficient, "I shall never realize." he ex
claimed again and again with tragic
despair, referring to his ideal—and
yet on his failures have been built his
great reputation. In this collection. 1
"La Femme Accoudee" ("Woman
Leaning un Her Elbow”! lent by the
Museum of Modern Art. and "The '
Card Players,” from Mr. Stephen
Clark's collection, represented Cezanne
at his best: "The Bather" and "Pines!
and Rocks." both from the Lilhe Bliss
collection of the Museum of Modern
Art. at his worst, offensively coarse
and crude. Laudation of such works
is incomprehensible.
This exhibition will continue for a
fortnight longer—that is. through De
cember 5. The gallery will be open
from 11:30 to 5:30 on week days, ex
cept Monday, and on Sunday after
noon from 2 to o'clock An admis
sion fee of 25 cents will be, charged,
except Saturday and Sunday.
Charming Water Colors by Mrs. j
Stone in Corcoran Gallery.
rJj'HE water colors of Maine and
Mexico by Mrs. Harlan Fiske
Stone now on exhibition in the Cor- j
coran Gallery of Art hate great charm
and a charm all their own. Painted in j
broad washes of clear, delicate color,
they convey in the simplest of terms j
an impression of reality and beauty. |
What is more, they "carry" effectively, j
and gain in significance when seen at
a reasonable distance, and with pro
longed inspection.
Mrs. Stone turns to painting as an
avocation, but her work is disciplined
and seriously studied. No one could
see it and doubt the artistic sensitive
ness and perception of the painter.
Her paintings of the Maine coast can
not fail to have special appeal for
those whose summers have been spent
there. Not only has Mrs. Stone tran
scribed veraci’ously the elements of
the coastal land and waterscape, but
given them subtle significance, as of j
mood and hour. In such paintings as
"East Wind." "Fog Blown." "The East
ern Ear. IsIe-au-Haut, Maine” and
"After the Storm,” this quality is par
ticularly evident.
The Mexican subjects are more
complicated as regards composition,
but no less engaging. Mexico fur
nished the painter with more pic
turesque themes; the challenge of
which she has met with no less equa
nimity. Especially skillfull in render
ing are "Acapulco Road," “Iztac
cihuatl at Twilight” and "The Little
Church. Cuernavaca.”
All of Mrs. Stone's paintings are
reticent in handing. She makes no
resort to bravado so common today,
she gives no suggestion of haste in
execution nor desire to display tech
nical cleverness. Apparently her paint
ing has been done for the best reason
In the world, the sheer joy of the
doing, for which reason it imparts
pleasure to the onlooker. The exhibi
tion will continue through Decem
ber 5.
Oil Paintings by Students
In American Colleges.
'J'HE exhibition of oil paintings by
students in colleges and profes
sional schools of the United States,
which opened recently in the art
gallery of the new Interior Depart
ment Building, to continue until Feb
French Painters Represented at Initial Showing of Organization at Museum in
Washington Reveal Qualities of School—Work of Students
in Colleges Presented by Interior Department.
I ruary. is exceptionally interesting and
; fine. Eleien colleges and nine pro
fessional schools are represented by
147 paintings which are hung very
effectively in two of the series of
i long, narrow galleries designed for
exhibition purposes, the third of the
series being occupied at present by an
exhibit set forth by the National
Parks Office.
Immediately upon entrance one is
struck by the strength and character
of the work on display, work done
with apparent professional under
standing and very considerable skill.
These works are catalogued by school
grouping, but hung individually in or
der to be seen to best advantage. By
no means do they ene the impression
of beginners’ works. Very few show
timidity or fumbling; the majority are
dirert and in technical handling as
|1>ERHAPS the best and incidentally
the mo-t surprising group exhibit
comes from the art department of Yale
University, which has the reputation
ot carrying off almost all the biggest
prises year after year Of the Yale
School of Painting. Eugene Savage
is head professor, and some of the
characteristics of his art are re
flected in several of the paintings by
his students, but only logically so,
and the general excellence and finish
ot the work shown reflects great
credit upon his teaching, as upon the
The paintings from Yale are far be- 1
yond what is usually considered as
student work. The nine canvases which
comprise the group are all large and
set forth elaborate compositions. Mast
notable is one entitled ’ Shipwreck.”
by Jirayr H. Zorthian. dramatic and
well rendered, which would seem to'
hark back to Delacroix in the matter i
of treatment and inspiration. "The
Good Samaritan” of Jean E. Wade is
likewise admirable in the matter of
composition and rendering, a canvas
that would be artistically and tech
nically outstanding in any collection.
"Orpheus and Eurydice” is in the
style of Savage at his best. On the
other hand and speaking well for j
liberty of expression, "Arbor Day.” by
Allen Pope, jr., reflects bizarre tend
encies of the current American school,
the figures flat, sad in aspect, weak in
color and a bit grotesque. "Sunday
Afternoon,” by James O. Mahoney, i
offsets this with amusing gayety;
‘ Haying Time.” by Herbert J. Gute. j
is likewise sprightly, ambitious and
colorful, while in “Apple Gatherers,”
by Jessie Hull Mayer, one finds
Current Exhibitions
ART—The Edward C. and
Mary Walker collection and
a special exhibition of water
colors by Mrs. Harlan Fiske
TION—Special exhibition of
etchings by Joseph Mar
gulies of New York.
LERY—Special exhibition of
drawings by Augustus Vincent
STUDIO HOUSE- Third annual
exhibition of paintings bv
artists of Washington and
TON—Paintings by Lester
and Angelina Stevens; medals
and medallions by American
Inaugural exhibition of paint
ings by French masters.
by students in colleges and
professional schools.
TURE—Exhibition of the
rural arts.
of photographs by Baron
Serge Korfl.
TERS—Paintings by Rock
well Kent. ’
ECT—Children's work.
LERY OF ART—Old flower
and garden prints.
STREET N.W.—Paintings by
Marcella Comes Winslow.
CARAVEL SHOP—Contemporary
reproductions of ancient
Greek vases.
, "r/T. EaAtern Ear, Isle-au-Haut. Maine,” water color by Mrs. Harlan Fiske Stone, on exhibi
tion at the Corcoran Gallery of Art. '
strength of color and draftsmanship,
as well as evident knowledge of tra
^VrEXT in merit, undoubtedly, come
groups from the school of the
Cincinnati Art Museum, over which
the spirit of Frank Duveneck must
still hover; the Cleveland School of
Art, of which at one time Henry Tur
ner Bailey was head, and the Penn
sylvania Academy of the Fine Arts,
all of which are professional schools.
Included in the Cincinnati group is 1
a portrait study of a "Boy in a Pink
Shirt.” by William Vrolk. which is so ■
"ell rendered, so excellent in handling .
of light and shade, that it stirs the
emotions as well as approbation. Out
standing in the group from Cleveland
are "Portrait of Steve.” by Alfred
Fatica. a fine, straightforward paint- i
ing; 'The Aztec Sculptor,” by Leonard 1
Yuschik, and "The Pioneers,” by ;
Brucker, the last two ambitious com- j
positions brought to excellent conclu- j
sion. The Pennsylvania Academy, the '
alma mater of some of the most ac- j
complished artists America has pro- j
duced, keeps up in its contribution of ;
10 student canvases its reputation of
sound teaching. "Girl in Blue." by
Marian E Williams; "Girl in Oval.”
by Edna Davis Wright; "Still Life.”
by Catherine Orr: “Negress With Pink
Bandana," by Efty K.vprie, are all
more than creditable essays in which
strength is tempered by an evident
sense of potential beauty, of color and
form and workmanship.
Newcomb College. Tulane Univer
sity, New Orleans, whence come, upon
occasion, fine pottery and other craft
work, contributes to this exhibition a
figure study and a still life, “Iris,” the
latter by Mary Walker, exquisitely
From the Kansas City Art Institute,
neighbor and older brother to the
William Rockhill Nelson Art Museum,
come eight canvbses, the majority of
which are little Bentons, whose man
nerisms the students have reflected
most cleverly. Benton, it will be re
called, has been painting lately large
and much discussed murals for the
Hall of Representatives in the Mis
souri State Capital at Jefferson City.
How contagious are eccentricities!
Mills College, California, makes val
uable contribution in four water col
ors, two of flowers. "Iris”, and "Rho
dodendron.” greatly exaggerated in
size and conventionalized, which have
pleasing individuality and decorative
’fleet. They are by Dorothy Gaylord
tnd Aileen Sturgis, respectively.
There are but two landscapes in the
collection, for the reason that the ses
sions of this school are in the winter
Betty Ellis, student of the Univer
sity of Syracuse, show's a very cred
ible painting of a "Negro With
Banjo”; Robert Elvis of the Univer
sity of Illinois is w'ell represented by
i still-life study of a basket of fruit.
* Parker of the University of Chicago
tas to the credit of himself and his
school a canvas, "Game of Marbles,”
food in color and crisply rendered.
[OCAL schools represented are the
Corcoran School of Art, of which
lichard Lahey is principal, and How
ard University art department, head
ed by James V. Herring, who studied
at the University of Syracuse The
exhibits from both these institutions
distinctly reflect contemporary trends. |
Cooper Union, New York, which has
an enviable reputation, and the Art j
Students' League. New York, which
has exerted powerful Influence on the
art of painting in oil in recent years. |
are both very poorly represented by i
work which is trivial and far from
significant or sound. But that there
should be so little work of such char- j
after is encouraging in the extreme.1
The feeling has been in recent years ■
that the art of painting has retro- i
graded: that, both in skill and vision
there had been rapid decline. It is
this fear the collection assembled
by Dr. Walter J. Greenleaf, specialist
in higher education of the office of
education, and now- on view, should
banish. Student work of such stand
ard as one sees here promises much j
for the future. To bring it together!
for display was an excellent move on !
the part of the Government, looking J
toward advance in art education
throughout the country.
The gallery is on the seventh floor
of the new Interior Department Build
ing. readily accessible by elevator at
the entrance on the south front.
National Exhibition
Of Rural Handicrafts
In Department of Agriculture.
,J'IHERE was also opened the first of
thus week an exhibition of the
rural arts, set forth in the patio of
the Department of Agriculture, as a ,
part of the celebration of the depart
ment's 75th birthday. This exhibition,
assembled and installed by Mr. Allen
Eaton of the Russell Sage Foundation,
comprises approximately 2.000 exhi- 1
bits collected from rural workers in
every part of the country. It is as i
notable and handsome a display as ]
was ever held, one which evidences ,
the talent and skill of American crafts
men. This work is fostered and en- <
couraged by the Department of Agri- j
culture because of its cultural and .
economic value, and in the matter of j
craftsmanship and artistic excellence ]
it is from first to last outstanding.
Undersecretary of Agriculture Mr. j
M. L. Wilson, in a brochure on the
exhibition, says: ‘'This art of the peo- ,
pie has nothing to do with queerism
or elaborate theories. It means doing
well something that needs to be done.
It represents human values quite as
In any other of the multiple human
The work shown represents a de- I
velopment which dates back only com
paratively few years. The exigencies 1
pf the depression brought about a re- '
naissance of craft work, With more *
time and less money, many people f
found In the handicrafts pleasurable (
as well as profitable occupation. The '
:urrent exhibition testifies to the re- 1
suit. v
The work shown here is of a very I
Afferent type from the exotic work 1
produced a generation or more ago. t
rhere is no evidence of self-conscious
ness or striving for effect: either the i
things produced are useful or they s
nave come into existence playfully, s
rhe outlook is exceedingly healthy tl
ind hopeful. d
Medals and Medallions
By Distinguished Sculptors
At Arts Club.
VOLUME could be written in
praise and appreciation of the
collection of medals and medallions
now on view at the Arts Club under
the auspices of the Committee on In
dustrial Art, and still much would
remain unsaid- In this collection, lent
by the Medallic Art Co. of New York,
are examples of the work of out
most accomplished American sculp
The art of the medallist is rare and
beautiful, but to what extent it has
been carried on. and with what skill,
one does not realize until confronted
with such examples as the 72 here
set forth. This art obviously offers
the sculptor escape from the -four
squareness" of work in the round,
work which must be seen effectively
from many viewpoints. But it is by
no means one-sided, nor is it a re
duction in actual proportions sunk
in a background. It has rules and
boundaries unique and all its own.
Sculptured images in relief, as a rule,
arise from a fiat plane, lifted by skill
ful modeling, and now and again sink
Sack to mingle with the mass against
which it stands in outline. Portraits
n relief are. as a rule, in profile, but j
not necessarily so. Indeed, some of the
Inest in this collection at the Arts |
I-lub are depicted full face, as look- ,
ng from the medallion to the ob
server. There are many charming
rortraits in this collection, notably
me of Augustus Saint-Gaudens by
vis one-time pupil-assistant, John
^lanagan. There is one of Lindbergh
JY the ]ate Frederic MacMonnies,
nodeied for the Society of Medallists,
there are the Roosevelt Inaugural
dedal by Paul Manship: the National
3eographic Society's Byrd medal,
tearing the explorer's portrait, mod
■led by Laura Gardin Fraser; the
lenry Ford medallion by Anthony
le Francisci. a portrait medallion of
loratio R Storer by Tait McKenzie,
ilso a portrait of Joseph H. Choate
n the form of a medallion by Her
>ert Adams.
Coins and medals are of the same
Ik. and through both, descended from
incient times, we derive a certain
mowledge of ancient culture.
‘‘All passes. Art alone
Endures. * * *
The bust outlasts the throne,
The coin, Tiberius.”
jr AbL tne coins oi wnirn we have
knowledge, those minted by the
ireeks are perhaps the finest. Med
ia of extraordinary beauty have de
cended to us from days of the Ren
issance in Italy. The srt of the
oin maker and medalist was re
ived in France during the last cen
ury, and some of the best of such
’ork in low relief was produced in
'aris at the very time that young
.merican sculptors were studying
Of all our medallists and coin makers,
mgust Saint-Gaudens undoubtedly
:ands foremost; but closely as
icia ted with him in the matter of pro
uction and in merit of work are a
ozen or more. Brenner's Victory
Cezanne’s "Femme Accoudee’’ <”Woman Leaning on Her
Elbow”), on exhibition at the Museum of Modern Art through
December 5. one of 29 paintings by five modern French painter>
f, composing the initial display. It is lent by Dr. Hurry Baku in
medal, which is included in this exhi
bition, attained exceptional fame. An
interesting fact in connection with
medalhc art is that it seems to go
hand in hand with monumental art
Herbert Adams, the sculptor of the
McMillan Fountain in McMillan Park,
did not only the medallion portrait of
Choate, already mentioned, but, for |
the American Historical Association, j
the beautiful Jusserand medal shown ■
here. James E. Fraser, among whose
many fine works is the statue .of Ham- j
ilton on the south steps of the Treas- ;
ury. did the medal of the American
Academy of Arts and Letters and the
Medal of Honor of the Roosevelt Me
morial Association. Robert Aitken.
Paul Jennewine, Herman A. McNeil
Adolph E. Weinman, John Gregory,
Mahonri Young, all represented in this
exhibition, have produced monumental
works of extraordinary significance.
There is a medal here by Brenda
Putnam designed and modeled for
the American Geographic Society of
! New York, and a medal, the "Charles
Sessler, Fiftieth Anniversary Medal
| lion." by John R. Sinnock, official rie
; signer and medallist of the United
States Mint in Philadelphia. In mav
not generally be known, but some of
■ these sculptors have been responsible '
for our coins Brenner designed our
copper cent, McNeil our silver quarter
Laura Gardin Fraser the half dollar
in current use, James Earle Fraser
did our nickel. De Franrisci our silver
dollar. It was Theodore Roosevelt,
when President of the United Sta’es.
I who instituted reform in nur coinage
1 from t,he artistic point, of view, and in
j consultation with Saint-Gaudens. marie
a bold start in the right direction
Saint-Gaudens’ 20-riollar piece was
modeled too high to stack, hut it served
! to point the effort in the right, curer
j tion.
| JiTIFTEEN 0[ these 72 medals were
struck and distributed by the So
' ciety of Medallists for and to their
! members. This organization eame into
existence in 1930 through t.he enthu
siasm of the late George D Piatt of
New York, w ho was an admirer of the i '
art of the medallist, and a collector. I 1
Each year since two medals hare been j '
struck and distributed at a nominal ! 1
fee. barely paying for the work and the ’
casting. These medals are in a meas- 1
ure commemorative, but in no wuse '
awards. Often, indeed, they have 1
been inspired by incidents or ele- .
ments in contemporary life of the
Nation or the individual. For example. !
one by Laura Gardin Fraser comment- '
orates trip ordinary hunting season. ] !
while another, by Paul Manship, takes j
the annual vintage for theme. Her- i \
bert Adams, on the other hand, dedi- j
cates his contribution to the fisherman ■ !
and encircles his medal of the little
shaver and his prize with these words: !
"Oh, what are the prizes we perish to !
win. to the first little shiner we catch '
with a pin!" Loftdo Taft's medal, one 1
of his last works, shows his "Fountain t ‘
of the Lakes" group in very low relief
on the reverse, with a head personify- 1
mg the spirit of the great waters on '
the obverse. j 1
The process used to evolve a medal ' '
from raw materials and from the plas
ter cast of the artist's model to the 1
medal or medallion in bronze, or other ! 1
metal, of a size that one may hold in :
one's hand, will be illustrated in a \
moving picture film to be shown at the i f
Arts Club under the auspices of the J
Committee on Industrial Art tomor- !
row, Sunday evening.
Corcoran School of Art i
Announces Series
Of Studio Evenings.
QWING to the success of the ven- j.
ture last year, the Corcoran j
School of Art has again instituted a j J
series of studio evenings. The aim is ' t
that of presenting American artists g
of national reputation and hearing ! s
their views on works of art in an in- ! 5
timate way, much as they might dis
cuss with a group of friends in their t
own studios. The majority of these \
artists will select works from the ' r
permanent collection of the Corcoran j
Gallery of Art to use as a basis j t
for discussion. These evenings are
planned chiefly for the students of , u
the Corcoran School of Art. but, other ,
persons having shown an interest, they j
will be open to a limited number by j
The first of the series of eight was j (.‘
given last Wednesday evening bv ' „
Boardman Robinson, the well-known :
mural painter, illustrator and car- I a
toonist, who is director of the Colo- a
rado Springs Fine Arts Center and !
happened to be in Washington in- , b
stalling a series of mural paintings 1 u
which he has made under Govern- j j,
ment commission for the Department ! r]
of Justice Building. The subject of [ n
his talk was provided by a recent trip ; ti
through the Balkans and Russia. 1 a,
which he illustrated with slides of j tf
drawings made en route. ' ]c
Subsequent talks have been prom- u
ised by Wayman Adams, who in De- p.
rember will present a demonstration «
of portrait painting: Daniel Garber. tt
H. E. Schnakenburg, Isabel Bishop 0j
and others.
LocaZ Artists’ Union Will j.
Sponsor1 Lectures and Forum. bo
f TNDER the auspices of the local as
chapter of the Artists’ Union of m>
America. Eastern District, a lecture se
was given last evening by C. Adolph 1 m
GHassgold. co-ordinator of "The In- 1 na
lex of American Design.” one of the i sit
iutstanding JFederal art projects The j th
mbject of his talk was "The Artist— I of
Man or Mouse ” This was the first
of a series of lectures planned by the
local Artists' Union, which is also
planning forum discussions of such
vitiil subject? as a bill introduced into
Congress by Representative Coffee of
Washington to create a permanent
Bureau of Fine Arts. To these lec
ttires and discussions the puohc is
Col. Sturtevant
To Speak.
rPHE Art and Archeology League
will hold i;.s firs’- meeting of the
season tonigh’ a» 3 3b o cior* a- r.un
ston Hail. 190k Florida aver.up T e
speaker will be Lt. Co: Edward W.
Sturtevant, giving an illustrated lec
:ure on "A Grecian Pilgrimage. ■
President of Landscape Club
bn Art Appreciation
MOORE })rc . of (pp Lard
in'1 Club of Wo-‘on. will z.\ts
i lecture on art f lation for the
of Colim. . Fedoration of
A7orr.cn .s Clubs on Iu^da*. NTo\pm
K’r 23. at 2 o clock, at the Rooseveit
Photographs bp Baron Korff
Shown at Public Library.
yjUCH interest has been shown
'he photographs by Baron Serge
\ Korff on vie v i the Art Depart -
nent of the Public I .brary. These
nclude subjects found in various
lar's of the world There is an ex
‘eller.t one of the Matterhorn and
mother taken m so ,*h America of a
rroup of .lamas There is a study ef
Yuccas In Snow taxer, m Cah
:ornia, and there are views found in
i*er.i Boh- :a and on the Panama
~ana: Ahso. there arp rv>o astro
"tom: cal photographs. transcribing in
in amazing -say the starry heavens
'Continued From Page B-l >
inlv a month or two a year or to fur
lish expensive recreational faeiht.es
>n a project adjacent or convenient to
xisting open public space ts sheer
taste. The exercise of strict and in
digent economy. Housing Authorrv
facials insist, can keep building costs
lown to a reasonable figure.
They point to "Hillside" in New
fork City as an example. That low
ent project, built and operated by
invate enterprise as a limited divi
lend project with P W. A. aid. ar
ually cost less than the approved
iesigns anticipated. And the man
'ho headed that job is Nathan Straus,
idministrator of the new Housing Au
Another example is the Bridgeport
Conn t project, which probably will
ie the first begun under the new Au
hority; its completed plans cad for
>nly an $800 room cast.
While the CmtPd States Housing
iuthoriry commences with several ad
antages not enjoyed bv former simil
ar governmental agencies, it still has
fight on its hands The slum situ
tion. despite publicized efforts of the
ast few years is as yet practically
mtouched. There is hardly a city of
ny size m the country but is af
Ucted with s'.;,m districts, blighted
teas and a housing crisis. The mat
ltude of the task is appalling. One
lardly hopes that the Authority can
ope with it.
cut i .wiixl, i me ap
propriated bv Congress to help
elieve the situation is a mere drop
r the bucket compared to the astro,
omiral sums i ceded to rehouse the
Nation's poor. The nionev a' tlie riis
osal of the Authority ior the next
liree years will barely suffice to make
start in the drive against inadequate
helter. That fact Is generally under
took. Responsible officials in the Ail
tiority profess no starry-eyed ambi
on to create a Utopia in housing;
ley do believe, though, that they ran
radicate the most malignant slum
rmditions throughout the Nation, that
ley can relieve the most urgent, rases.
They understand their obligations
nder the Wagner-Stpagall Art as the
■generation of conditions among the
iwest-income groups first of all. a
rid which private capital simply ran
it afford to enter. Improvement of
mditions in the economically higher
mips will be left to private enter
use either independently or with the
d of Federal mortgage and insur
lce agencies such as F. H. A.
The Housing Authority will be in
bited from helping many obviously
orth-while and needy cases for po
tical reasons. The art requires that
ties receiving help must have mu
cipal housing authorities. In prar
■ally every case the city lacks the
ithority under its constitution to es
blish such a publir agency; State
gislation must be enacted granting
at right. To date 30 States have
issed enabling legislation, leaving 13
thout local housing authorities au
orized to participate in the benefits
the Wagner-Steagall Act,
Another obstacle facing the Author*
' is the debt situation of many cities,
le usual municipal charter limits
rrowung to a percentage of its real
sets. As a result of the depression
>st cities have had to bond them
ves to the limit to meet ordinary
inicipal service costs and extraorrii
ry relief expenses. In addition, the
mp in real estate values reduced
? cities’ assets and, hence, the total
its bonds legally permissible.

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