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Evening star. [volume] (Washington, D.C.) 1854-1972, April 03, 1955, Image 114

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Books in Review—
Two Novels of Absorbing Interest
Present Characters Poles Apart
Two novels which come to hand this week are absorbing
for (different reasons. Neither can be commended without res
ervation, and yet both have commendable qualities, which is
more than you can expect of the average novel these days.
Richard Scowcroft’s third novel, “A View mt the Bay
(Houghton Mifflin; $3) is an amusing account of a serious
situation, which is not so in- -
congruous as it may sound.
There is, in the course of the
story, a
sketch of
a n avant
garde pub
lisher and a
• * 1 itt le"
Far from
the more
or-less so
phisticate d
charact e r s
in "A View
of the Bay”
is Charlotte
Payne Nr. sc«wcr«ft
Johnson’s first novel, “Watch-_
ing at the Window (Bobbs-
Merrill: $3). Miss Johnson’s
taut story is concerned with
primitives. Negroes and white
persons, in a small Southern
town. They are not completely
primitive, not entirely unin
formed or without wisdom in
their way, but they are a pole
apart from the people Mr.
Scowcroft scrutinizes.
Miss Johnson’s people in
this particular novel would
think Shelley was only the
first name of a movie star,
and Wagner might suggest to
the older ones a certain ball
player. And yet we find that
Mr. Scowcroft’s men and wom
en, who could tell you the
contrasting merits of Renoir
and Van Gogh and what
Hindemith is trying to say,
have just as hard a time solv
ing their fundamental prob
lems as do those whom Miss
Johnson depicts.
If Mr. Scowcroft's novel
comes off the better of the two
books, he is, for one thing, a
more experienced hand, and,
for another, he has tackled a
theme less difficult to expound.
In San Francisco
“A View of the Bay” is a
story that happens in San
Francisco. Leonard, married
and about to become a father.
Is suddenly confronted with his
early life when Craig commits
suicide. Craig’s wealthy father
once took Leonard, a poor boy,
under his wing as a companion
to Craig, sent them both to
an expensive prep school. But
it was Craig, not Leonard, who
could never adjust himself to
life. Craig, inheriting his
father’s money, put some of it
in a publishing venture and a
magazine which attracted ex
perimental and frustrated
writers. Then it turned out
that Craig left some of his for
tune to the enterprise, some to
his boyhood companion, Leon
ard who had never liked him,
and $1 to his sister, who lives
in Paris and never got along
with Craig. When the sister
comes to San Francisco to
break the will, Leonard is
tempted by an old infatuation
for her. How it all works out
makes an interesting narra
Craig’s sister, supposedly a
fascinating creature, never
seems real. The dowdy spin
ster who runs the unprofitable
publishing house and the self
admiring poet it publishes are
much clearer.
Written at Two Levels
' “Watching at the Window”
is written at two levels. There
is a good-hearted but mentally
upset young Negro of a hard-
working, re
family, who,
when he
isn’t work
ing in the
sawmill, sits
at a win
dow. Twice
• day he
sees a young
white wom
an passing
through the
quarter of
town. He Charlotte Johmon
doesn’t covet her for the usual
reason, but he is obsessed
with the idea that he and she
are fated to meet, and that
she will lead him to some
fabulous place where there
is no ghetto for the colored
people and every one is on
a level.
We turn, in alternate chap
ters, to this girl. She is a
prostitute. She falls in love
with a young Texas oil worker
whom she meets in a tavern.
They are to be married. But
we move, meanwhile, toward
the inevitable meeting of the
Negro boy and the girl.
Probably the artificiality of
the plot makes it difficult for
an author to be entirely per
suasive. But she does very
well with it. She has written
simply and swiftly, without
digression or bombast.
The young Negro is a con
fusing character. At first we
see him merely as a dreamer:
later it is obvious that he is
suffering from a. fixation.
There have been so many
stories of good-hearted, vic
timized prostitutes that it is
hard to draw one who holds
our sympathy.
But Miss Johnson is a writer
of decided promise.
I. Compton-Burnett
It seems to me that I. Comp
ton-Burnett is for most of us
an acquired taste. To learn
to like her novels is compar
able to developing a prefer
ence for escargots on the half
shell or sauerbraten. Those
who like her are apt to like
her a lot. I have always been
able to read her or leave her
alone, though I’ll admit I en
joy her more than I did at
Her new novel. “Mother and
Son” (Messner: $3.50). is typl
aal. For those who have no
previous acquaintance with
her work, it may be said that
she tells her stories almost
entirely in dialogue. It is not
dialoge that ik close to life,
nor is it intended to be. It is
a sort of philosophical short
hand. innocently simple
sounding, but actually subtle,
sometimes wit
ty. The butler does not talk
like a butler, nor do the chil
dren speak with less intellec
ual maturity than their elders.
In Miss Compton-Burnett you
learn to expect such things.
She is an English writer
whose novels certainly have
the merit of originality. It is
Impossible to describe them
in a review or even to give
much idea of what they are
about. Their sequences of crisp
conversation do get some
where, but.the results are too
involved to sum up in a few
words. To find out what
and Son” is all about
you’ve simply got to read it.
Then you’ll know ... perhaps.
Heating Problem
Mann. (Ooubleday & Co.,
Inc.; $3.95.)
On Paris’ Left Bank, young
American GI Stanley Kagen
sets out to find a special sort
of woman—a bedwarmer.
He’s living in a room—one
of those delapidated, ill-heated
hotel rooms an army of Gls
occupied after World War 11.
A woman, he reasons, is
cheaper for winter warmth
than coal. Against a back
drop of sheer romance, he
goes on his practical hunt.
Stanley, would-be artist
hero of the novel, finds a
woman. She solves his heat
ing problems, but in the
process throws cold water on
his life of enchanted poverty.
A lot of Left Bank illusions
go up in smoke during Stan
ley’s affair with Janet Welles,
an American working with
ECA in Paris.
Everything about this novel
is young—including the au
thoress. It’s a light, cozy love
story with a blithe spirit.
There are moments when its
likable lovers seem about to
fall into cliches of stock
Americans living a stock
brand of gay Parisienne life.
The cases, etc., they frequent
are so well-worn that they get
to sound like name-dropping.
But the authoress always
rescues this romance in the
mecca of romance with a
charm that keeps you reading.
All Asia Is Ripe for Communism
By Edwin O. Reischauer.
(Knopf; $3.75.)
The author is a Harvard pro
fessor of Far Eastern languages
and a long-time student of
East Asia, born in Japan. He
has produced a hard-hitting,
thought-provoking book on
what has been wrong with our
Far Eastern policy and what
still Is.
The foreign service, for in
stance, is roundly Indicted so»
its part in the loss of China,
the bungling of our Korea
policy, and its present alleged
lack of foresight throughout the
the Far East. Only In Japan
does he find our performance
commendable, but even here he
thinks we are missing many a
bet today.
War in Korea might well
have been averted, in Mr.
Reischauer’s view, if someone
in the State Department had
taken an interest in the coun
try in the late 1930 s and early
19405, which was the time for
planning As the author points
out, Korea with her 30 million
people Is about the Isth most
populous country in the world.
Russia, he recalls, was primed
with Kremlin-Indoctrinated
Koreans and detailed plans
ready to go In September, 1945.
We were a pushover.
What of the future?
The author is deeply pessi
mistic. He obviously thinks,
but avoids saying it bluntly,
that all Asia is almost sure to
Those 'Ominous 7 Investigations
GATION. By Alan Barth.
(Viking Press; $3.)
Not only have congressional
investigations increased in
number in the past five years,
Mr. Barth says, but they have
taken on an "ominous” new
color. More and more in
vestigating committees are
encroaching on the rights of
the executive and judicial
branches of the Government
and on the rights of individu
The executive, he points out,
can fight back as the Constitu
tion meant it to—and so, to a
certain extent, cah the Ju
diciary. But when congres
sional committees conduct
“trials” of individuals with.the
the intention of "punishing”
them in away Darred to the
courts, then the Nation has a
more serious problem on its
His solution to the latter
problem pretty much boils
down to self-restraint On the
part of Congress. Congress
must decide to do two things
—exercise more supervision
over‘committees and require
that legislative trials extend
Individuals roughly the same
GAYEST PICTURE BOOK—Spring fever runs riot through
the meadow in Rojankovsky’s joyful and colorful illustrations
for “Frog Went A-Courting” (Harcourt, Brace).
f *
For Boys and Girls
Spring Is the Time for Ballads,
Baseball, Best Friends and Bikes
Spring is the time for bal
lads, old ones like Casey at the
Bat and Pirate Don Durk of
Dowdee; new ones like Davy
Crockett. From the hills of
Scotland to the plains of
Texas heads are nodding, feet
are tapping, as they have
nodded and tapped for hun
dreds of years.
The oldest of these story
songs were passed down by
word of mouth, for country
folk considered it bad luck to
write them down. An old
Scotch woman burst into tears
when Sir Walter Scott wrote
down the ballads she had sung
to him. Now these songs
would die.
But such songs do n6t die
so easily, and one of the old
est and most amusing Scotch
ballads now appears in the
gayest picture book of the
spring. Frog Went A-Court
ing has been set down by
John Langstaff and illus
trated in color by Rojankov
sky (Harcourt; $2.50). The
pictures are a joyful medley
of spring peepers and frolic
some mice. When Mr. Frog
goes a-courting, “sword and
pistol by his side,” he is such
a grand fellow that the whole
meadow turns out to cele
A Lovable Mongrel
Spring brings five puppies
to a farm dog named Yipe, a
lovable mongrel abandoned by
her original owners, a near
sighted town couple who can’t
tell a good dog from a bad one.
Fortunately for Yipe, she is
rescued by a friendly farmer
and his wife. Their hospital
ity is rewarded a thousand-
go Communist in the next 20
to 40 years. That includes
India. Japan, and Indonesia.
• Because Asians through the
centuries have been conditioned
to totalitarianism, of which
communism is today's leading
• Because Asia’s urge to in
dustrialize is so strong most of
the people will accept rigid
totalitarian discipline to im
prove their standard of living.
• Because political instability
in free Asia—including India
and Japan—will provide fertile
fields for Communists as
present leadership dies.
What's the Alternative?
How can we divert Asia from
Mr. Reischauer’B methods
are far from convihcing.
Military and economic means
he belittles as almost useless,
which seems to this reviewer
to be a mistake. That leaves
the ideological front, which
the author thinks is by far the
most effective.
Despite his enthusiasm, Mr.
Reischauer produces nothing
in the ideological field that is
much more impressive than
what is being done already.
One puts the Reischauer
book down convinced of the
black future for democracy in
Asia, but unconvinced that the
author knows much new
about how to save the situa
protection as do judicial trials.
The beauty of the last sug
gestion is that right of cross
examination, a bill of particu
lars, rebuttal testimony, etc.,
would bog down the legislative
process. Therefore Congress
would tend to leave trials up to
the courts.
Mr. Barth, editorial writer
for the Washington Post and
Times Herald, will have done
a real service if his book makes
Congress think a bit more seri
ously about its responsibilities
to safeguard individual rights.
One Especially for Music Lovers
Vernon Duke. (Little, Brown;
Vernon Duke has been called
“The Jekyll and Hyde of Mu
sic.” As Vernon Duke he has
written popular song hits in
cluudlng "April in Paris” and
“I Cant Get Started With
You.” As Vladimir Dukelsky
(his roil name) he has writ
ten serious music.
After his escape from Russia
with his mother and brother
in I*l9, Mr. Duke came to
Amartsa. where he became
I •
fold, for Yipe proves to be a
superb rat-catcher and watch
Yipe, by David Malcolmson
(Atlantic, Little-Brown; $2.75),
is a hard book to keep on my
shelves. The pictures by Mor
gan Dennis make an immedi
ate appeal, but it is the story
itself which holds the young
reader. Yipe is every child’s
dog: Clever, affectionate, ad
venturous, loyal. As soon as
I’ve finished this review, Yipe
is promised to my friend Jake,
whose third-grade classmates
are waiting impatiently to* read
the next chapter.
Baseball Weather
Spring brings baseball
weather for Billy Kidwell and
Bruce Martin, better known as
“Fats.” The only trouble is
that a miserable FOR SALE
sign turns up during spring
vacation on the vacant lot
which has always been used for
neighborhood baseball. Shorty
Morton’s father owns half the
lot, but if the other half is
sold for a model home, what
will the Great Pyrenees Ball
Club do with their spare time?
And where will the small fry
play cowboys and Indians?
Billy and his pals swing into
action. This is a problem call
ing for all their ingenuity and
imagination. It calls for all
kinds of tricks, within legal
limits, to scare away the Bull
wirikles and other possible pur
chasers. This is funnier than
it sounds, and no harm done.
Billy’s Clubhouse by Marion
Holland (Knopf. $2.50) pre
sents. Billy and Fats in top
form. This is no trick at all
for Mrs. Holland, whose own
backyard in Chevy Chase is
always swarming with young
sters looking for a brisk work
Baseball may be incidental
in Billy’s Clubhouse, although
it wouldn’t be safe to say so
within hearing of the Great
Pyrenees Ball Club. But there’s
no question baseball is a very
serious matter in Buddy and
the Old Pro by John Tunis
(Morrow, $2.50).
Buddy Reitmeyer, captain
and shortstop of the Benjamin
Franklin Tigers, knows just
how serious it is when the
rumor gets around that the
Tigers may not win the cham
pionship. Not winning is un
thinkable, especially since the
Chamber of Commerce has
promised the winners a big
dinner and hunting knives for
every member of the team.
Besides, next year they’ll be
in Junior High, and they won’t
feel the same about a new
Yet this is the first time that
the boys on Buddy’s team have
ever come up against spiked
shoes, slugging, and the cruel
jibes of the new coach at
Francis Fisher. What if he is
an old pro? Can they take it?
Can they win? Worse yet, can
they afford to lose?
With the same skill charac
teristic of his older sports
stories, John Tunis brings you
the game, play by play, like
any veteran sports reporter.
Best Friends
Helen Hamilton’s wishes are
simple enough on her 12th
birthday. At least they seem
simple to her. She wants a
bicycle and she wants a best
friend. Instead, the other
children jeer at her and call
her “the funny guy.” They
play tricks on her, too. They
hide her clothes when she
goes swimming. They tease
her when she forgets a lesson.
They dare her to eat a cater
pillar. Helen almost believes
that she really is “a funny
guy” who never will have any
The Funny Guy, by Grace
Allen Hogarth (Harcourt;
$2.95), is a story pf Boston 40
years ago. But Helen’s efforts
to sell Christinas cards, door
to-door, in order to earn a
bicycle could happen today.
Like “Rebecca of Sunnybrook
Farm,” Helen is . likely to be a
long-lasting book friend.
friends with George Gershwin,
who Influenced much of his
later music. Subsequently, in
Paris, where he was writing
a ballet for Diaghilev's Ballet
Russes, Duke met the two
Serges—Prokofiev and Kous
sevitzky. His friendship with
Prokofiev continued until the
letter’s voice was stilled in
the provinces of Soviet Russia.
“Passport to Paris” is full
of stories about contempo
rary composers and musicians
and should be of interest to
the music lover.
[ New Jameson
j Novel Merits
; Fine Praise
| Storm Jameson. (Harper it
Bros.; $3.)
Storm Jameson is a skilled
craftswoman, one of those
i English novelists who are not
afraid .of big scenes, not
ashamed of high drama. In
i this somber story of undying
rancor in a French family, she
is as fluent and sure, as ever.
The conflict here is between
those wliq do not hesitate to
judge and those who do. The
most adamant character is the
chatelaine of an old manor
house. Cousin Marie, who
nurses the memory of old woes,
who will not let herself or any
one else forget that her son was
tortured to death by the Ges
tapo. Her nephew, Jean Mon
nerie, a gallant resistance
leader is equally obdurate
when his time comes.
The True Traitor
Opposing the pair are the
village priest, a maimed sur
vivor of Dachau, and an Eng
lish captain, returned to the
Loire to revisit the house which
had sheltered him during the
war. The priest in vain tells
Cousin Marie that no one has
the right to refuse to forgive
any other human being. But
Cousin Marie shows no mercy
to Daniel Monnerie, who comes
home from prison to die. His
crime had been that he frat
ernized with a cultured Ger
man general, a representative
of her son’s persecutors. And
he can never see that he did
more than conduct himself like
a civilized human being. The
German general was his friend,
war did not diminish his con
Then Jean discovers the true
traitor in the family and when
the English captain, with the
moderation of his race, begs
for justice
with mercy,
the French
man bitterly
tells him to
wait until
England has
been occu
pied, until
he has faced
ery in his
own fam
ily.” The
English cap
tain. how- * torm Jame ” B
ever, and apparently Miss
Jameson, believe that “the
common English are always
likely to astonish themselves
and their betters by their
patience, and patient indiffer
ence to the teachings of the
cynical and the bloody
There is. of course, a girl,
caught between the avengers
and the tolerant. Miss Jame
son manages all convincingly.
There is no belaboring of the
moral issues, simply a state
ment, and very plausible
By Pamela Hansford John
son. (Harcourt, Brace; $3.75.)
Miss Johnson, whose previ
our novel, “Catherine Carter,”
was a glittering novel of theat
rical folk, is here telling quietly
of an almost every day tragedy,
the misalliance contracted in
good faith.
Christine Jackson is a typist
with a literary flair. Ned Skel
ton is a would-be soldier
turned business man. They
meet at a dance, fall in love,
as they think, and after sev
eral quarrels which should
have warned them, they marry.
Since physical attraction is not
• enough to keep them together,
they drift apart. Unhappily,
it happens all the time.
Miss Johnson has Christy tell
the story in the first person,
with much nostalgia for the
uncomplicated 20s, for youth
and for girlish confidences.
The story is sensitively told
and sounds completely authen
tic but somehow like one of
those recitals that mean more
to the writer than the reader.
—M. McG.
Pure Dixie„
Lee Settle. (Harper & Bros.;
Miss Settle is a Southerner
transplanted to England. Her
adopted country has left no
mark on her prose style, which
is pure Dixie.. Especially in the
exchanges between the ladies,
with the stilettoes gleaming
among the magnolias, you can
see she never left home.
Her characters are an as
semblage of unfulfilled people
in a small Southern town
brought together by their
love of amateur theatricals.
The importation of a crippled
director underlines their
frustrations. The discovery by
one of the middle-aged women
ip the cast that her husband
has a grown-up son by his
first marriage, precipitates
real tragedy.
The story is full of harsh
metaphors and of insinua
tions of immorality. It seems
an accurate portrayal of empty
lives, but its message in not
clear. The English critics, ac
cording to the jacket quotes,
went quite mad over It. One
wonders why. —M. McG.
The Important Pockets of
Paul, by Lilian Moore (McKay;
$2.75), is the kind of here-and
now story book which 8 and
9 year olds will pick up be
cause it looks easy to read.
They will finish it because
they want to know “what hap
pened next” to Paul, whose
mother threatened to make
him wear pants without any
pockets at aIL —B. N.
THE SUNDAY STAR, Washington, D. C.
‘ ZPKPAY, Aran. S. USB
News of Artists and Exhibitions —
Spain’s art history, it has
been said, is embodied in great,
i isolated individuals, as con
trasted with other countries’
“schools.” Such a generaliza
tion is not accurate, of course.
But it is true that when one
thinks of Spain in art, one
thinks first of El Greco of the
"God-intoxicated saints,” of
Velasquez, the mirror of
Spain’s court, of the mystic
Baroque Zurbaran, and of
Goya, of the turbulent revolu
tionary era.
The special loan exhibition
of Goya’s drawings and prints,
which opened yesterday at the
National Gallery of Art, to re
main through April 24, reveals
the most ideational aspects of
his art. (Visitors to this
exhibition can refresh their
memories of his painting by
looking at the gallery’s sev
eral fine portraits.)
First in the U. S.
The loan exhibition has 114
original drawings; 99 lent by
the Prado, 15 by the Lazaro
Galdiano Museum, both in
Madrid. Since no work of art
was allowed to leave Spain for
showing abroad until recently,
this collection is the first to be
seen in the United States. It
was made possible through the
co-operation of the Spanish
Foreign Office, the Ministry of
Education, the Direccion Gen
eral de Relaciones Culturales,
and the Spanish Ambassador,
Senor Don Jose M. de Areilza
(who opened the show yester
day). At the end of the en
gagement here, it will be sent
on a tour of American mu
seums under auspices of the
Smithsonian Institution’s
Traveling Exhibition Service.
Besides the drawings, the
Galdiano Museum also lent 15
rare prints; and the Spanish
loans are augmented by 33
outstanding etchings by Goya,
from the National Gallery’s
Rosenwald Collection. The ex
hibition represents all phases
of Goya’s graphic art, from the
pen drawing “Prince Balthasar
Carlos,” a copy of Velasquez's
portrait, done before 1778, to
the “Blind Beggar,” a late
brush drawing of the 1820 s.
Goya's Strong, Original Mind
Goya’s long life of eight
decades encompassed the pe
riod of the great struggle for
intellectual and political lib
erty in Western Europe and
America. Goya was blessed with
prodigious physical strength,
•and also a strong, original
mind. De Beruete, an author
ity on the master, was im
pressed by the fact that when
he was in good health, spirits
and circumstances, he painted;
but when ill or troubled, he
turned to graphic arts, and
etched thft gamut of his tur
bulent thoughts: Disillusion
ment, cynicism, indignation
and violent bitterness.
Goya habitually made prints
in series. His first group (pre
sumably commissioned) com
prised 17 plates after works by
Velasquez. Original drawings
for these are in the exhibition.
His first great original series
was “The Caprices,” 82 items,
done during his 47th to 52nd
years. Preparatory drawings
and etchings here include such
masterpieces as “Here Comes
the Bogeyman” and “Love and
Death.” These are social and
symbolical satire.
The Napoleonic conquest of
Spain, abdication of Charles
IV and the ensuing horrors
and miseries were reflected in
Goya’s series of 82 plates done
between 1808-15, called “The
Disasters of War,” represented
in the show with such charac
teristic examples as “A Fight
in the Streets” and “Not Even
at This Price.”
Spain’s national sport, the
bull fight, was the theme of
Goya’s next series, etchings
and drawings from which pre
sent a stark picture of cruelty
and suffering.
Most Fascinating
The final series, “TTie
Follies,” done in Goya’s old age
(67 to 74) is perhaps the most
baffling and fascinating to the
true Goya aficionado. They
rank high in esthetic quality,
and obviously mean much, al
though Goya insisted they
meant nothing at all. The best
interpretations I have seen of
them, were those by an English
writer, Blamire Young, in a
book “The Proverbs of Goya,”
published about 30 years ago.
For example, one in the exhibi
tion entitled “Femipine Folly”
he interprets as a symbol of
unhappy marriage, the 6
figures (taken clockwise) being
the same woman at different
stages and ages. At the left she
to' a gay young girl, “picking
up her task in life with happy
insouciance,” and as the years
pass, she becomes wistful, re
signed, overburdened, cynical,
and finally broken and hope
less, as she lays down her
Goya was greatly gifted, with
Gtyp suntag fctar §
The Sunday Star hat arranged with tome . * ■ x
o/ the leading booksellert ot Washington i o g g £ £ o
and suburban areas to report each week S 5 S S si
the books which sett best as a guide to o 2„ « o * o SixL
what Washington is reading. The num- 3 £ o!S S «j“ 88 5
bers represent the rank of each book g ti* 2|„ 2j2 “ “jk
among best setters at the store named, o<| zi | - >?'S
Report fer.wosk ending April 1 I i jiH S|S jw 211 2jl j *
FICTION ~ ‘I I I I I l~j I T
"Sincerely, Willi. Wodn," Morqiiond 12 11 11 j2jlH |1 11 13! 414
“Bonjow Trirtesse," Sogen 1 1 |<|2 [ 1 3|. | | 1 1 121 _
"No Tims for Snrgnnnti," Hymen 3] [3 [413121 | jl
"Din View From Fompey*s Hoed," lons 5j 2 j 5 I |2| | ! |
"Vontero Into Portents," Hobart 151 515 | | t 161
"Frey fore Irate Hoort," Meclnnos , 4; | |3[ j ]6| -|
"Gift Free/the Sea," Lindbergh I|H I|l|lTl| I |l|l
"Tho Fsbiic Fhilotophy," Lippwens 5 |1 3| |2| |2|2j
"The Fewer at Fssjtirt ThraMeg" Feels 2 |5 ]T)T|2| | |2
”Tke Ony Uacsla Wee Shot," Hthsp 5 »|«| 14! !4,6[ I
"Gertrude Lawrence as Mrs. A," Aldrich |j 4jJ|4|l| , |4
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AT NATIONAL GALLERY— I “Foiled,” ink drawing by Goya, in
special loan exhibition from Spanish museums, just opened at
the National Gallery of Art, the first such loan, collection shown
in'the United States.
a penetrating knowledge of
; humanity. This exhibition at
the National Gallery, is one to
i linger over, during its all-too
i brief stay here.
'lnspired by Nature'
Marjorie Phillips’ exhibition
at the Corcoran Gallery of Art,
opened appropriately with
| spring. It brings into the
gallery the qualities we begin
to long for, as March nears its
close: sunshine, fresh clear air,
green of countryside, lofty
trees and well-tended gardens,
and the flowers themselves in
all their charm of color and
shape; and serene, far-reach
ing views across hills and
Not that Mrs. Phillips re
stricts herself to spring; she
paints the fullness of summer
and the bounty of autumn, as
in her “Barn and Buckwheat,”
with its alternating areas of
blue, gold and green. She also
paints interiors, sometimes
just a room corner or a sunny
window, or a covetable bit of
luster or pottery holding flow
ers. She has also caught casual
but excellent likenesses of her
self, and family enjoying a fine
day in their garden, in “Con
versation Piece.
A Helpful Guide
As for the sound esthetics of
her work, there is nothing one
can add to the discussion by
Duncan Phillips in his intro
duction to the catalogue. Vis
itors to the show should read
this: it provides a foundation
to the pleasure of viewing these
A native of Indiana, Mrs.
Phillips is the niece of noted
painters Gifford and Reynolds
Beal. She studied at the Art
Students’ League of New York.
In 1921 she married Duncan
Phillips, and ever since, has
been active in Washington’s
art life, both as an artist and
as associate director of the
Phillips Gallery. Her paintings
have been included in impor
tant exhibitions throughout
the country and abroad, and
she is represented in the per
manent .collections of out
standing museums, as well as
in many private collections.
The exhibition will remain
through April 24.
At Barnett Aden
Ruth Galoon's solo exhibition
at the Barnett Aden Gallery
(127 Randolph place N.W.) is
being extended through April
—Sundays, 2 to 5, and by ap
pointment. Twenty paintings
represent the last eight years,
and range from representa
tional figure subjects such as
the well-done portrait “Willa”
to the near-abstract “All Men”
of 1954. Richard Lahey (one
of her instructors) has written
an enthusiastic foreword to the
catalog, in which he says in
part, that Ruth Galoon “with
an intent eagerness, perceives
■ her subject as a whole and
puts it down with unity and
Besides heads, figure studies
and some landscape, about half
the works on view are still life
and flowers, showing the ar
tist’s flair for color.
Burgess at Mart
Marguerite Burgess is show
ing more than 30 works in her
solo at the Artists’ Mart, 1361
Wisconsin avenue, through
next Wednesday. The retro
if spective includes oils, water
t colors and pen drawings which
o give a good survey.
Miss Burgess does not con
fine herself to one type of sub
ject or handling; she shows
landscapes, urban scenes, fig
ures, birds and animals. Pig
. eons and other blrdp she has
” made peculiarly her own, tak
ing advantage of their stream
lined curves, particularly well
“ exemplified in “Conference”
(in the Mart's window).
y “Georgetown Street." in
; dusky blue twilight, with lights
j blooming in windows; “Hill
j Orchard,” whispering of spring
in its delicate, high-keyed
1 colors, and “Forest Interior,”
impressed me as among her
best works in this show.
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