Evening Star Newspaper, May 31, 1931, Page 88

[ 18 Sunday Mo ACROSS. . Issues forth sud- denly. . Splits. . Seaweeds. . Helped, as of a cause. . Man's nickname. . Make triumphant. . Renders turbid. . Unconsciousness. . Jauntily indiffer- ent. . Tactful in nego- tiation. . Encamped. . Foams. . Misappropriate. asts of burden. . River in France. . Leading. . A feline. . Bow of a ship. . He is; Latin. . Skirmish. . Prequently; poet. . A famous Roman poet. . Rend. " . South American muleteer. . Competent. . Gallops slowly. . Tennysonian heroine. . Throe. . More exact. . Leopard-like ani- man. . Vacillates. Shower. . A raised place on which- sacrifices are made. . Inquiries. Saucy. Vulgar pretender to gentility. Eat. A support. Overcharged: col. Rash. Flat slice. 1 T Ssgees 828 bus driver. . Medicinal plants: . Sharpens. . Chilean seaport. . City in South- west New York. . Degrees of indi- vidual capacity or power. . Mythological god- desses. . A young lady. . Pass criticism. . Ere long. . Abominations. . Luxury. . Supplies courage. . Warehouse. . Mug. . Percolate. with DOWN. . Gasp. . Wind instrument. . River in India. . Having lobed . Extreme. membranes to the . Glossy fabric. toes. . Retort quickly. Orders. . Extreme irrita- . Elocutionists. tion. Indisposed. . Brook. South African . West river. charm. Lamps. . Ancient Italians. A seat. . Slow; musical Burning. term. . River ia France . Anglo - Saxon famous for its poem of the tenth historic castles. century. 12. Cleans, as fish. . Husband of Ge 13. Every one. and father of the 14. Pertaining to a Titans. famous Greek . Cherishes. fabulist. . Fragmer:tary lava. 15. Disfigures. . Sways back and 16. Small insects on forth. edible tubers. Indian Sem =aus - = Notes of Art and Artists Woods Road,” and from Ruth Osgood a paint- ing of a Vermont farm and another of rocks on the Maine coast. Lucia Hollerith is repre- sented by a painting in her characteristic technique, “Tidewater Virginia,” and Marie Roelker is represented by a marine, “The Rest at Sunset,” while from Lewis P. Clephane has come a painting of “Old Houses, Holland,” one of the few foreign subjects. ‘This exhibition continues until September. HE Landscape Club of Washington has sent ' out announcements that beginning in Oc- tober it will circulate traveling exhibitions of its members’ works, as heretofore. In each collection there will be 40 paintings in oils ranging from sketch-box size to a maximum of 25 to-30 inches in dimensions. All will be simply, uniformly and adequately framed. A nominal fee is charged to places taking these exhibitions and a commission is offered on sales. ‘The circulation of original works of art, espe- cially of prices within the reach of those of moderate means, is undoubtedly a public bene- fit, and it is gratifying to hear that the Land- scape Club of Washington is not only putting forth such effort, but successfully doing so. A little folder accompanying the announce- ment tells in an interesting way of what the club is and how it came into existence. Begin- ning with a small group it has grown to in- ¢lude many of the landscape painters of Washington and vicinity, more than 40 in all. The purpose of the club is to foster a spirit of comradeship and to advance general interest in art, inducing recognition of Washington as & national art center. That Washington affords in itself, as a city, and in its environs, delight- ful material for transcription, picturesque and appealing, is graphically set forth. Expressions of appreciation for generous support are given friends of the club and the press. e N connection with the exhibition of American wood engravings from the Alexander W. Drake collection now on view at the Library of Congress, of which mention was made in these columns last week, it is interesting to know that Mrs. Drake still has almost twice as many works of outstanding quality which have neither been sold nor given away, but which may in due course be acquired by private collectors or art museums. This reserve collection includes more than 100 proofs of Timothy Cole’s old master series, as well as an equal number of his early subjects. Timothy Cole never kept a collection of his own work, even for his family, and now that he has passed away it is almost impossible to secure, except from old copies of The Century Magazine and from the Drake collection adequate examples of his un- usual and beautiful art. ‘When Timothy Cole died a fortnight or more Bgo the city of Poughkeepsie, in which he lived, placed its official flag at half staff for its $liustrious citizen—one of the fineést tributes { S ———— rning A'mong the Cross-Words . An English omni- 17. 18. . Individual. . Orname-ntal fas- tening of a gar- ment. 35. Dye. 36. Town in Western New York. 38. Secures. 40. Bogs. 42. Speedy. 43. Concise. 45. District in Suma- tra. 47. Unites closely. 48. Chessman. 49. River of cany. . Italian religious reformer. . Most precious. . Artist. . Starchy substance obtained from casava. . Weeds. A check in growth. Scoffs. . Prench plural article. Pilfer. . Pertaining to the calf of the leg. . Came forth. . Popular game of the “gay 90's.” . Dark fluids. . Plunder. . Anglo - Saxon coins. . A down. . The nettle family. . Climbing plant. . Succeeded. . American manu- facturer and pub- lcist. 81. Misdemeanors. 84. Insects. 86. Ancient city. 89. Glad. 91. Contract. 94. Metropolitan prima donna. 95. Persecute. 96. Cuckoo. 97. Excludes. 24 26. 29. 32 34 Tus- o A Qoo O w 38 22 B2 g3 - 33 wWN - CEEEE Italian 102. Notable persons. 103. A greeting. OBERT UNDERWOOD JOHNSON, formerly associate editor of The Century Magazine, more lately American Ambassador to Italy, and now permanent secretary of the American Academy of Arts and Letters, in an open letter in the New York Times a few days ago wrote appreciatively of Timothy Cole’s art. “From his first surprising block after Fromentin,” he said, “in the early 80s through the splendid record of 30 years of his reproduc- tion of old masters for the Century Magazine, followed by portraits, groups and landscapes, down to his superb last proof of a young woman by Gainsborough from Mr. Widener's gallery, his career constitutes an epic of beauty. * * * Working in front of the greatest paintings of Europe, he corrected the faults of the photo- graph upon his block, faithfully catching the values of color in black and white. To this happy task he brought an intense sensibility, a religious devotion and an extraordinary and a bold Sargent-like sweep. * * * He was to his art what Paderewski is to music, and with a like recognizable tone and ‘touch,’ individual and inimitable. His inventtveness and charm of style persisted to the last.” Mr. Johnson also recalled, happily, the ex- hibition of Timothy Cole’s work set forth a few years ago by the American Academy of Arts and Letters, of which, he sald, he was “an honored member, welcomed by distinguished painters, sculptors and architects, who ‘granted him an equal date’ with themselves.” FRENCH sculptor, Ernest Dulbrig, has taken up residence in this country, declaring his intention of becoming an American citizen, and is occupying at the present time thie studio of Paul Bartlett on Randolph place northeast, where Carl Mose worked most recently. Here from May 24 to today Mr. Duhrig has been showing some of his works in sculpture inspired by the poems of the French Ambaseador, Paul Claudel, together with models of figures in Gothic style done for the Washington Cathedral. French Ambassador has written recently an introduction in French to an exhibition of water colors and drawings by a French “was born for fresco. His painting has the good smell of damp plaster. Copious though his groups are, they call for others more im- portant to surround them. He should have wide spaces to fill. Why not the whole of this between the Atlantic and the @ joy to transpose a whole world in on the vertical and to scale of this huge ladder!” inspiration, it seems, comes via cholce of subject. matter is yan masonry and the sacred ucatan and Guatamala., THE SUNDAY- STAR, WASHINGTON, D. C, MAY 31, 1931, ° French. 106. Natural cavities or recesses. 107. Kind of cheese. 108. Siberian river. 109. A Spring clasp. 110. Be conveyed. 112. Irish. 113. Track. Continued From Sixteenth Page ‘T the department of fine arts, Carnegie In- stitute, Pittsburgh, there is now on view a collection of drawings of medieval stained glass by Lawrence B. Saint, who is, it will be recalled, designing and executing the stained giass win- dows for our Washington Cathedral, working in an improvised studio on the cathedral grounds. UCH interest attaches to the most recent publication of the Phillips Memorial Gal- lery, “The Artist Sees Differently,” essays based upon the philosophy of a in the making, by Duncan Phillips, a beautiful publi- cation in two volumes, one containing text and a few reproductions in color, the other all re- productions—245 plates illustrating works in the Phillips Memorial Gallery. The text of the book is made up of editorials from “Art and Understanding,” exhibitions and lecture notes and essays written for special purposes and occasions around one central thought—an insistent plea for seeking and honoring different kinds of expression. In an introductory chapter Mr. Phillips declares that this book “primarily presents a report on a collection of modern paintings which grows and changes and needs new commentary. Beyond that it pays a tribute of sincere devotion to an old-fashioned point of view and way of life which are distinctly out of favor today.” It is a little difficult to realize that anything in connection with the Phillips Memorial Gallery can be old-fashioned or out of date. Mr. Phillips expresses his conviction that “the world itself is a laboratory, in this transitory age, and if we look through modern art to whatever it signifies we may judge the trend of the times.” “It is fairly certain,” he adds, “that we may expect more and more machines, more and more leisure and less and less capacity to enjoy or profit by it if art itself becomes automatic.” Surely, with this all will agree. He gives an excellent definition in his next chapter of open-mindedness, which he gives us to understand need not signify either neutrality or even impartiality. ‘“The purpose of an open mind,” he says, “is to find one’s own way about, avoiding preconceptions, prejudices and ::d. other pitfalls.” But how few achieve this closing of the art season is marked by numerous exhibitions of student work held by the several local art schools—the Critcher School, the Hill School, the Abbott School, Miss Clara Saunders’ pupils, the National School of Fine and Applied Arts—have all held exhibi- tions during the past week, and this week the school of the Corcoran Gallery of Art will hold its annual display. Perhaps the most interesting and striking feature of all these student exhibitions is the great freedom that is universally permitted for students to express their own individuality, the common acceptance of the theory that indi- vidualism in art is to be encouraged rather than suppressed. There is also extraordinary variety shown in subject matter. Obviously sfl of Shose who study art, even professionally, ase ags going to make it agprofession, but there is no doubt that a knowledge of technique leads to a keener appreciation. That the work done in the Washington schools of art is as meritorious as that done in similar institutions elsewhere is gratifying; in fact, the high standard main- tained is extremely noteworthy. In every in- stance commendation can be warmly given. RS. ARTHUR MOSES showed informally, an interesting group of her recent painte ings and drawings in her home studio last Wed« nesday afternoon. These consisted of both por- traits and figure studies, as well as still life com- positions. All were somewhat in the modern mode, so far as direct, frank and virile expres- sion goes, but evidenced at the same time both recognition and un of the funda- mental principles established by tradition. Mrs. Moses has undoubtedly keen perception, & trained eye and hand, a good color sense, to which is added evident power of expression. What is more, her work has freshness and charm. She paints for her own pleasure, and. perhaps for this very reason her paintings are the more pleasurable to others. Before her mar- riage Mrs, Moses did illustrative work of great accuracy for one of the scientific departments of the Government; it is comparatively lately, after a lapse of some years devoted to her chil- dren, that she has turned to painting. The facility that she now shows, the breadth of her technique and acceptance of new methods, may reasonably be credited, in part, to her early ap- prenticeship, as well as to natural gifts. She may quite certainly be counted upon while contributions in the future. for Musigraphs Continued from Seventeenth Page A song selection featured in “Hell Bound,” & recent film at the Rialto Theater, entitled “Is ,” was written by Howard W. Coombs, Gardner Coombs, well known Mr. Coombs, who