Evening Star Newspaper, February 7, 1926, Page 44

THE SUNDAY NOTES OF ART AND ARTISTS — Washington Water Color Club Opens Its 31st Annual Exhibition at the Corcoran Gancry—Two Hundred Picturgs on View—Other Art Notes. BY LEILA MECHLIN. I HE Washington Water Club has just opened its thirty- | first annual exhibition in t Corcoran Gallery of Art The entir semi - circular gallery, with its adjoinir nteroom, is given ov to the displa which comprises nearly 200 pictures. The majority of these are in water color: a few are etchings, drawings and wood - block prints. The annual exhibitior society ave long been acc events of note Those whos ries go back more than a q century will recall with e the exhibitions of the soci the ably room of t and in a litte impr cticut _avenue an Gallery new buildix hemicycle downstairs, which more, became available for exhibitions, did the Washinzton W Color Club bexin exhibiting under hospitable roof. And how del really memorable, we the ¢ held in the Corcor club twenty and more years ago! was the time when, influenced by modern Dutch school, opague colors were much used, and a great many | of the water were painted in gouache on g per. Then, also, There was @ vo s large portraits n pastel, and to each of these exhibi Anna Coleman Child, Jullet Thompson and Mrs. Barney contrib- uted such_ we of notable interest William Fuller Curtis was doing his attractive anels in burnt wood then, and a new one invariably had a posi jon of honor in the Water Color lub’s exhil James Henry Mose! presider Among the ading ributors were Bertha Per- rie, Hobart and Spence ichols, Rob- ert Child and George G Perhaps i one could step back twenty or more vears one would lose some of the Elamour oss that bridge of time hold their asurably mem- and certain it is that the Wash- inzton Water Color Club h for longer till been upholding a high standard The present showing is essentially o d e and sane” as com- pared to some current displays, but avidencing to the full that not onl the club members but the jury of lection are aware of what {s golng on and hos 1ble to innovations. A changi fashion in the mounting and framing of water colo lends a certain measure of confusion. There has been a return recently to the use mats, for many years tabooed, introduction of these takes somewhat from unif ity of display, but that is unavoidable. Also, the normal si: of ater colors mili- tates against impressive effect on en trance. A water-color exhibition can- not be seen or adjudged at a glance the exh must viewed individ. ually. Beginning with the flat wall and No of the catalogue and passing grad- ually and continuously to the right one enci the gallery and secur a varied impres: n_ but con rehen sive acqualntance with the llection a whole. A wood-block print. not « water color, as No. 1, serves as intro. duction. Tt is by Tod Lindenmuth and ix entitled “T-~w Tide.” At the ex treme end of ~ve flat wall, in similar position, hapys another wood - block print by thie same artist. It is en uitled “In Harbor,” and is even more charming A wood-block print is, to in_extent, in every instance an origi- nal, because the black for each print- ing is reinked by the artist, and no two printings can be identical. In reviewing this exhibition it will be well to note how the restrictions gov- erning wood-block prints have been iaken on by some of the water-color painters; In other words, how close some of the paintinzs resemble wood- block prints, and vice versa Quite different in style are the water & Llizabeth Sawtelle, two of vhich hang in the place of honor on this flat wall, while one, a charming view of Mount Etna, is on the wall opposite, a little to the right. The two | especially honored are a view of “The | Lower Church, St. Francis Assisi,” a most_difficult subject admirably ren dered, and “The Way to Mola of one of the abruptly uprising hills | rrounding Taormina. In all three of these paintings Mrs. Sawtelle shows command of medium, a fine color, of contours, of compositl lesign. There is a depth and rick about her painting which Is ver: ractive and which places category of the more serfous work of art A Jittle to the left of these two en aging works hang two interesting city pictures, pictures of Fifth avenue in war time and immediate there after. both by Marjorie Ryerson. pic tures which need distance for effect, which present an unusual viewpoint, that of looking down, but which have etmosphere and action and design, and, what is more. tone. A little to the left again is an illus trative painting by Blanche Greer, “Fuiry of the Larkspur,” and a town picture, a study in sunlight and shad- | ow. with a blossoming oleander as the | key-note of color, by Gerirude B. Bourne. To the right hang two Glou cester pictures by Felicie Waldo How- | ell, both boiats —one of two | schooners to the wharf, the| Color unted memo. rter of a t pleasure ty held in smos Club vised gallery on Not until the 1into its pres and the great tions « W le tied other of a schooner loading granite, | ers, by Fleanor W. Motley; one a study on one of those clear days when dis | of “Lilium Specilium,” which is un- tance is eliminated and. ihe ‘hortzon | commonly fine cuts sharply against the sky ear these hang these two hangs an e color etchings by nocturne by Walte he Harlequin Cups” and “The Old low-red-roofed housc sh,” and 4 color etching, “Flower op, Inauguration.” by Gabrielle Ly | Clements, with beneath it an exceed- the | ingly attractive little water color, Shep-| ““The Brook,” by S. Peter Wagner. . Iieyond these, to the right again, 1l Iny hank three water colors by Eleanor his pletures of Western scenery, and | parke Custis o exhibited this year his transcription of hilisides sur{with the New York Water Color Club, round; Dead Sea has a certain | of which she has lately been made a l\':xlr. UuBlicy, #a SOUBMIY SR jope | member is’ contributions inds in the wa of John " Store 4 ¢ | are of “Boothh la Farge. AMr. Powell also shows a o Tt 3 {in Wi Fpder ool doto _': the ex-| Home,” and are done in the style em- treme end of the ic Gardens, ployed for some time by Jane Peter- L e i N eaiery | son and Felicle Waldo Howell, which Aizactlve vai Of SN has close kinship in character to the Gla raippers | Wood-block print | two very attrac- unu- | Sllen Day Iale, Louis | White -« amidst | ¢ green foli Bevond Lucien W Canadian herd on the \r. Powell was « hang tw >owell ekt water colc one show other, Dy 1 sketches, and Dora L. Murdock sends painted in Belgium and Hol land. Annie D. Kelly's “White Roses,” Helen Walcott Younger's “‘Petunias, Blizabeth Muhlhofer's “Apple Blos | soms.” Belle Smith’s “Dogwood” and | Do I Kalb's “Yellow Vase” are | lent still life paintings, cach of | distinctive and accomplished rano * which is broadly | Benson B. Moore s at his best in a LU fHlowing brush. and | SnoW picture entitled *Winter sy b Julius Delbos lends distinction o e |y oup of four excellent water col shioned | 073 of fore Marguerite C. Munn, Margaret Lent, Marfan Lane, Susan B. Chase, Edgar Nye and others are well représented Among those who contribute to the ion devoted to etchin: the names four contributors other than those ady mentioned stand out most sminently. They are John Taylor | Hopper wory, Christopher b | Murphy, jr., Benson B. Moore. John Tayior Arms sends recent etch :s made in Jtaly and other parts of elaborate architectural stud- am Colling, who | ics, rendered with a finish and delf vecently, shows | cacy that is unsurpassad. “From the iny f old | Pont Vecchi is a most elaborate Lieebe has | theme, rendered with a complete unity painti 1 effect The etching catalogued as ni erona’ is no less beautiful or sub. ren- | in its handling His “"Rouen,” his has | “Notre Dame,” “The Rose Window, of Denver, in Washing Elizabeth is passing Ul scenes Spruce and netly modern- w way which evi . feclimg for nature. picty sends a o with v decorativ bouquet ind new Frederick H. Brooke, the well known has sent a little sketch am. Province of Quebe hough smal s extremely in- teresting quality. a simple com position. a litt o fre ht well . both old-f i of manner wd has mu for one 1550 often in k-drop to commend thing, is overh painted pictures, Corinne Cur has not exhibited three v attractive pain ew Orl From Dee tower sky v \ns bunch ¢ Glady s | | Cameron Burnside shows two Paris Morn- | STAR, WASHINGTON, PORTRAIT BY ELINOR M. BARN TO? TE THE ANNUAL EXHIBITION OF THE WASHING- | almost N WAT] COLOR (IL"B‘ D. C, FEBRUARY 7, 1926—PART 2. A Volume Concerning Annapolis Which Will Interest Many Washingtonians—Some of the Monuments of Rome. New Novels Are Making Their Appearance. 1IDA ANNAPOL LBERT MYE! : Its Colonial and Naval History. By Walter B. Norris. Illustrated by Kugene P. Metour and Vernon Ho Bailey. New York: Thomas Y. Crowell Co. ADI> here, hought is that he would bet- ter beiake himself to this old colonial town of Annapolis as speedily ns possible. For it seems certain that not much longer will the little city on the Severn be left to its dreams and its flavors of coloniul gayeties and colonial dignities the motor and the bus and the ric road and enterprisc itself will surely obtrude upon this inviting his- torfc corner. They'll not let jt alone. So we would better go right away. To be su th quietude and the dreams are alre broken in upon, and have been for many years. But it is u seemly disturbance, fitting well into Its surroundings — the brilliant panoramic life of the midshipman. M like lightning flashes of color nd movement, a clear embellishment the scene rather than a threat against its settled orous demeanor surpassing su this city of for the who leans historie grances and place In our new have tew localities distin- \mospheres of own Philadel- proba New Orleans, certainly. and the Spanish influences of the far | Southwest. “This town of Annapolis is | 1l atmosphere, ped is it - impli in more than of 1 11 history, in its one’s mext writ fre Tocs i vy special theil | ph ARD, WHICH IS CONTAINED IN in col one chapter | Among those who contribute draw- ings to this section are Mathilde M. | Leisenring, who shows several por- traits; M. Lesley Bush-Brown, who contributes a sketch of Miss Violet Oakley, the mural painter; Ruth Os- zood and Emily Burling Waite, both of whom show portrait heads. This exhibition will be oven to_the public from today until the end of | February g | THE Corcoran Gallery of fssued circulars its Tenth Art has| cards of | i for Blennial Exhibition “IN HARBOR.” BY TOD LIND! MUTH, IN THE WASHINGTON WATER COLOR CLUB'S EXHIBITION. lately won honer in a western exhibi tion, shows paintings entitled “Th Boat 4" and “New Enzland Gar- den,” both well done. Alice ¥ who is best known for her miniatures contributes an_excellent little h it “The Beech Tr and two small portrait studies, one of herself all likewise bewitch- Enory shows etchings The Carroll Mansion,” “The Old rthouse, Towson, Md.” “Balti- Harbor” and “The Track Mend- Christopher Murphy, jr.. who is represented by two still life paint- inzs in that section of the exhibition, The place of honor on the semi-|shows here etchings of “Times circular wall has been given a{Square” and “St. Phillp's Church, group, the chief featurcs of which are | Charleston.” Benson Moore exhibits two figure paintings by Elinor M. Bar. o very skillful etchings of birds— ard, one a portrait of a young girl “Great Horned OwlL" lately ac- lovely in and admirably exe red by the New York Public Li cuted: the oth all life size rv for its permanent collection, and portrait_head of of Eu-|“Red-tailed Hawk,” besldes a sympa- zene O'Ne ] iked by | thetically rendered transcription two excell o8 flow- ' “The Tidal Basin Bridge, Bvening.’ Beauvais.” are ing. Hopper ster, er i | the {qu colo! “BOOTHBAY WHARVES.” B YELINOR PARKE CUSTIS, IN THE WASHINGTON WATER COLOR CLUB'S EXHIBITION, of | 4 The sale will take place at the Ander- Contemporary American Oil Paintings, | to be held from April 4 to May 16 Entry cards must be filled in and re- | turned by March 1. Works submitted | to the jury should be received at the| Corcoran Gallery by March 15. The | Willlam_ A. Clark prizes, accom- | panied by the Corcoran gold, silver and bronze medals, and hcnorable mention will be awarded as usual, There will be the popular prize, and a certatn sum will be expended in pur- ses. The jury of selection and award for | this exhibition conslsts of Edmund C Tarbell, chairman: John (. Johansen, | Jonas Lie, Leopold Seyffert and Rob ert Spencer. This Is the first time that this exhibition has been held in the Spring. The date was changed in order to accommodate the centennial exhibition of the National Academy of Design, but the change is to be made permanent. * * ok N the Smithsonian Building, under | the auspices of the department of | graphic arts of the National Museum, | is now to be seen an exhibition of 50 | etchings, Christmas cards and book plates by Katharine Merrill of New York. Miss Merrill is to be in Wash- Ington on the 9th, 10th and 11th of the month and will be in attendance at the exhibition to recefve her friends and to meet informally those interest- ed in her work. A fuller notice of this exhibition will be given later. 3 C ok ok K T the Philips Memorial Gallery, which is open to the public on Tuesday, Saturday and Sunday after- noons, there is to be seen at present a new collection of 15 paintings by 11 American artists. As the January exhibition set forth pictures of build- | ings in u modification of the Cubist style, &0 in these plctures, now on view, the lyric note is struck, and the subjects set forth are those which per- mit flights of imagination In the main gallery are those great works of art by Daumier, Renoir, Courbet, Carot and El Greco, which stand for all time and for high achieve- ment S N New York this week will be rold the art collection of the late Vis- count Leverhulme, one of the most re- markable collections of English furni- ture which has ever been assembled. son Gallerles, and through its medium a great number of works of art of unusual character and rare value will be dispersed to American collectors and find their way into American homes. * K K K COLLECTION, of very attractive etchings of London, by W. Francls Longstaff, will be exhibited by Miss | Furbanks at the Art Promoters’ Club this afternoon, and at the Gordon Liotel under the auspices of the Inter- mational Society of Arts and Letters | point, | frienas {coLoxE ice as the cap. with the buildings the prestige inci n. Old build remain to the dignity slonial Narrow streets 2 kinship with many a turn own. The countryside is and benign, beautiful nviting, bidding o long days quiet water cath old isper to bim of other men mtry roundabout next Saturday afternoon. The collec- | of tion comprises 20 views of Londoh, | night scenes, among which mer may be made of views of Westminster Abbey, of St. Margar of theof Houses of Parlinment, of the Cenc taph, of St. Paul's Cathedral, of Quadringa at Hyde Park, of the I Courts and of the Bridee mention only & few. These, w exception, set forth London 'ho love that great They are in pure graphically ing and comme standpoint of subject und art. One hundred impressions been printed from each p Water colors London Longstaff were shown in tk year and made for the This new pries ¢ is no less engagir inu nonies ar ings the ¢ to testity the | in ' a heside stor el that lable be the this selec of that one, b h ' of tov narshaling of T the the drawings signs by Nicola view al' this week hese, se of subject and in the author has by point the of this city. it n be in BUSINES Edward She ofessor of b Wharton School of F C Univer f 1 L. Fi ifa, author of “‘Corporatic < Finance d Karl W. H. Sch ¥ Ph. D., Assistant Professor of Eco’ |rg the nomics, Whatton School of i‘nmm.‘ I Soatlon o and Commerce, University of | fove civilizations. Pennsylvania. New York: D. _,,.“‘f]"'{’ tvilizati pleton & Co llkodin 1e by MARY GLE d of sul hing M tourist Rome is bewildermer, listinet in ge haracter, are ir no her or, standing p’in a puzzling d; ing periods of Rom: al By York: rah Ge Boni & trude | Live- S CCaLT Millin right ew TORK ndy El the The SHABE. . author By James T: ang Boston ing Hou than he noble edifice yond By L. -jall as to what or v \in went his is fn owledge meant in the ar these great lack in this ki the lack of a definite h the k of clea of time when the people of or that, were such ang s gathered together under cert DAILY DEVOTIONAL BIBLE READ- INGS. Specially Selected and A ranged by L. Duncan A M., M. D. With : luction by Henry Van Dyke. New York: Fleming H. Reve CHARACTER, CONDUCT STUDY: How to Mike the Mo School Life. By William H. C ning! the High hool Commerce, Boston w York P. Putnam’s Sons THE HISTORIAN CAL LVIDENCE. By son, Professor of A tory, Yale Unlversity Charles Scribne: ICE HOCKEY: and Coach, her, He School, Concord, New York: Charl PRACTICAL PICTORIAL COMPOST TION, A Guide to the Appreciation of Plctures. By E. G. Lutz. With Pen-and-Ink Interpretations of Paintings and Diagramatic An ses by the Auth Charles Scribner’s Sons HEARTS OF HICKORY; Andrew Jackson and the War 1812. By John Trotwood Moor author of “The Bishop of Cotton town,"” etc. Nashville: Cok Pre: THE BURIED i of \ND of n 7 epsor. New York horsati HANDBOOK FOR AND THI RIENI Wh Siebel Publish ing C on THE BLIND Reprint 1 Can inifred H author for the Blind,” etc P. Dutton & Co. 1 len of Chalney, au Bible.” etc. >r Publishing AND HISTORIT Allen Jol RADISE Lord thor Bosto House RAISING A New to Meot u New Need. Tamblyn & Brown. PURDUE UNIVERSITY; Fifty Ye s By Willlam Murray Librarian, and Louifs Professor of Histor The Hollenbeck Press. ALAMO. By Willlam Ne York: The s Sons the A Manual By Thomas d Coach H. TDlust = Scribner’s Sons. MO! Business ' New York rs AR OF n-Colo. Gu THE LOVE LE Edited by Bolton Acres and Libert Frank-Maurice, TERS OF ST. Hall of " ete. New York: RUBIES “THE BROOK,” BY S. PETER WAGNER. IN THE WASHINGTON WATER COLOR CLUB'S EXHIBITION, 7 CHRISTIAN | JOHN. | Three | !laws of government, certain modes of life, peorle who have reached a defi | nitely ascertainable place in art and | sclence, In the whole content of civill | zation In “The Monuments of Christian Rome” the author spreads such defi nite historic background—one stretch- ing from Constantine to the Renais- sance, one covering the Christian period of Rome itself. Within this compass he selects and sets out the {art of the period, carefully separating it from examples of art belonging to | other periods, even though the latter |may be standing beside the former. In other words, he gives us in a very onclusive sense the history of Chris tian Rome by way of its monuments And there is 1o other way to study the art of any place or time. creation, no matter how perfect it may be, is nothing when taken out and away from the thoughts and aspira- tions of the daily life that produced it S0, we are led here from monument to monument of Christian Rome, read this perlod, reading also its decline by the same tokens. A way so {lluminat- {ing, this, as to become adventure of { the highest type—an adventuring back who are, in substance and capacity, just like us and no different. And this kinship comes to us through a | study which, like this one, is simply |en emanation of the spirit and work | of & whole people at a certain stage of their progress. A learned man, this author. besides, who has spent much time in the fleld that he here spreads for us. Yet, with all his learning, he has | learned to keep himself simple and | undestandable to ge: rs who | ted in sider {able theme either in actual travel or in the travel th stays at home, has here authoritative competent and distinguished help for his enterprise of studying a period of Roman art. * MONDAY MORNING. Hamilton. Boston Mifflin Company ‘IHNL;_V\:T Monday Morning” is, wo sets of people, the movable starting point for every sort of meri- | torius endeav You_recall here the | woman whose children never by any |chance did as she told them to do 1 Monday morning you're going begin to mind” was, to her, th vositive and constantly recurrir statement of a very faint hope. the mos their ng v attainabi er class, basking definite point of up of young folk isten is somewh in front of them. To catch, or seem to catch, a bit of it the; |the time of on their part | “Monday Mo beautiful stor | Charteris Forster. few really Anthony no. certainly not “a goc nice hoy in the na (i sense of those names. He stead, a boy. Consequently he is ir pretty fine world. And in this world he is going to do things that'll make a ir—the right kind of a s Patrick Houghton is, for ngly boy, Now a boy fine ti is suc of the things { world h a boy lat a nor v h been, if—oh, fellow is born when he is borr hings g0 to pot him The best Eimsc we o do waiting companion of Anthony is it is wh he is telling himself about all manner of things |that we, listening in, come upon a ory of vouth that is not only honest merely to be honest is not enough { The story is truer than mere honesty because of the fact that it { standingly and sympathetic: jest. This being d it 3 e young years of Anthony come or here in the fuil content of a clean | bow tremendous preoccupations of mibition and desires and plans. Flam | boyant, oh yes, for this is a boy who not yet been taken In hand by life. And a refreshing because it is inspired with the vouth . is veins | THE PROUD OLD N Scoggins. Indiana) Bolbs-Merrill Co. JAMES BROWN— proud |¥ old name. Later, to hoy {lonely down in Mexico it sounded good | to him to hear “Jim Brown™ and then Jimmy.” A likable fellow—Jjust na | turally, “Jimmy.” Lonesome? T} {no word for the ghastly emptiness which Jimmy waded around d {there, so far away from home, so far from the States, “God’s own country.” | Then, one day, Jimmy met Don San- {tiago Moreno of the lordly hacienda | over across the hills. Then he met Elena, Don Santiago's lovely daugh And Moreno was gracious toward | the Justy youth. With an eve on | Elena and one on Jimmy he talked of |adoptim. 1le explained elaborately | that the name, James Brown, trans. lated into the Span was nothing else than Santiago More his left no doubt at all of some hidden, long- | forgotten noble strain of kinship be- |tween the two. And Elena smiled And Jimmy was 1 shoemaker gra her up North and the sheer unlikelihood of noble Span ish blood within his Yep, he was going to be Santiago .Moreno. Junior, or something like th At any rate, he was sure of bei Elena’s husband And the gloc |around him turned to moonshine | You see, right here, that it would never do, never in the world. And this little story is the story the rescue of Jimmy. A little th inc more than half an hour for its |reading. In it are laughter and ten sion and excitement ana the best possible medium for this kind of ad venture. “Uncle Lew™ tells the tale |incomparable for this business |Uncle Lew. The economy of the real jartist is exercised here. A less skill- {ful writer would have made a long | the quality of Don Santiago, of th social system of Mexico, of the power of the “proud old name,” Jim Brown. | American. Instead, this writer has jgiven the substance of this romantic adventure in a gem of a short story. | * Ok ok ok THE LOVE RACK. By Cecil Roberts, author of “Sails of Sunset,” etc. New York: Frederick A. Stokes Co. ONEST and appreciative women generally nowadays acknowledge their debt to the flapper who has given to her elders the courage to take off the worst of their clothes—that un- comfortable, impeding, smothering | clutter of garments within which, but | for the flapper, women would still be trying to make their crippled wayv In equal degree also must the novel- ist feel in debt to the modern girl who is giving him room to move out 2 bit frem the cramped quarters conceded bim by the old conventional heroine of the novel. And writers are rapidly making use of the freedom so gained No other theme is so threadbare a the love theme. Naturally, too, since this is the oldest theme in the world Jand the one most acceptable to a {world full of readers. So, It comes as |2 real boon to the writer, to have independ alive, thinking, courageous, ent girl as relief from the tedium of the cutand dried romance. Mr. Roberts’ new novel derives its fresh- An isolated | ing through these the high point of | One, | He forgot his | Istory of the escape of Jim Brown, of | from the fac busied ir upstand th t ose i1 is At measire ing, delightful girl who, filled idea that one to ¢ 50 moimentc L tter does h ung, as ien the in he sorbed i opens up {new independ the girl herse the 1 the shore of the greatly symp theme and handi |of a decided | THE GIFTS Tompkins Mc A FIRST novel “®a fragment is t rgrown garden, when And DIVINE | ren overlords very well lived drawn into the great past of a great people | hich lin {and the n s divine that of th ite human insight kindr son in left to public—ar of any ch as so } This | events hegir usines umar mayhe {it s : vs open tk n ter it | this is the ki story can he { implausible, even impossible, and ve | get @ heartng from al every one Now here_is of the |average of this class. Nothing new bout {t, either in conception nor fir | development. Just a zood story, wri ne who h story it is fror it that ot telline everybody CONGRESS, THE , CONSTITUTION AND ITHESUPREME COURT By CHARLES WARREN Th of “Th ates | the relati of (¢ statem by ¢ author in United explains clearly t Court Acts sents full torical origi he Court to d of Co ess wher the Constitution an extended consideration of practical operation of vari proposals recently made by tor Borah and the late Sen ator La Follette to impair the power of or to abolish the Cor $3.50 at all Booksellers LITTLE,BROWN &COMPANY Publishers. ok t 1preme Court listory,” n of th t Act Boston | ON EXHIBITION (' From Jan. 27th to Feb. 13th it Il EARLY ENGLISH SPORTING PRINTS In Color 'l Gordon Dunthorne | | ‘ | i 1205 Connecticut Ave. ! I 2 « =