Evening Star Newspaper, November 1, 1931, Page 94

THE SUNDAY STAR, WASHINGTON, D. C, NOVEMBER 1, 1931. Calendar of Exhibitions CORCORAN GALLERY OF ART, Seven- teenth street and Now York evenue. Permanenit rcollection. Special exhibi- tion, Paint.ngs by Waller Elmer Schofield, October 4 to November 26. Lithographs by Robcorio Montenegro, October 18 to Novzmber 7. PHILLIPS MEMORIAL GALLERY, 1600 Twenty-first street. Permanent col- tion with recent acgu’sii’ons. NATIONAL GALLERY OF ART, Tenth and B (Constitiion aucnue) Streets northwest. Perma: -ni collzct'on. Painl- ings by Wells M. Sawy>r, Oclober 24 to December 1. SMITEHSONIAN INSTITUTION, Tenth and B streets southwest. Block Prints and Lithographs by C. A. Seward, November 1 to 39. ARTS AND INDUSTRIES BUILDING, United States Natonal Museum. Bre- moil Transfers by A. W. Hill of Scot- land, October-November. FREER GALLERY OF ART, Twelfth and B streets soutluw-st. Permanent collect.on. LIBRARY OF CONGRESS, Print Divi- sion, First strect betiz-cn East Capitol and B streets southeast. Coniemporary American Prints asscmibled by the American Federation of Arts for ex- hibition in Iiaiy. ARTS CLUB OF WASHINGTON, 2017 1 street mnorthwest. Water colors by Margarete Lent end Lona Miller Kep- linger. October 25 io Nevember 7. TEXTILE MUSEUM, 2339 S street northwest. Rugs, trpestries and other textiles of the N-c- and Far East. Open Mondays, W.dresdays and Fri- days, 2 to 5 oclock. Admission by card, obtainadble e the office of G. H. Myers, 730 Fifteenih street northwest. HOWARD UNIVERSITY ART GAL- LERY. Painiings by L'ttle Duich Masters, lent by Coilcge Art Associa- tion, October 19 to Novcmber 7. GORDON DUNTHORNE GALLERY, Comnecticut avenue and De Sales st, Lithographs by Albert W. Barker, No- vember 2-16. Prinis by contemporary English, French and American artists. SEARS, ROEBUCK & CO., 1106 Con- necticut avenue. Peint'ngs by~ Thee, J. Morgan, Herbert Hooven, Bessie Crighton and otiwcrs. Eichings by Auer- bach-Levy. Woodcuts by J. J. Lankes, to November 2. Painlings by Mr. and Mrs. Albert Herter and W. Lester Stevens and Harry Roscland. Pen- and-ink Drawings by Thornion Oakley. Etchings by Andre Sm'th and Eliza- beth Norton. S iver Ponis by Dewing Woodward. Small Bronzes. Novem- ber 4 to 30. HE exhibiticn ot paintings in oil and water cclor, “Comers in Spain,” by Wells M. Sawyer, which opened in the National Gallery of Art, United States National Museum, October 24 to continue to November 30, is genu- inely delightful, as refreshing as a visit to a new country under the guidance cf one who is a discoverer of beauty and capable of im- parting his enthusiasm. No wonder that when a distinguished Spanish architect and artist visited Mr. Sawyer's studio in Spain and saw these paintings they immediately suggested an exhihition in Madrid and tock the necessary steps to secure the official invitation. For here are pictures of Spain of which a Spaniard might be proud, pictures which give one to understand the real beauty and lovable quality of that land of romance. Mr. Sawyer went to Spain in 1926 to regain his health, and he remained there for about four years, long enough to recover, to feel at home and to absorb the spirit of those places in which he painted. A good part of the four years Mr. Sawyer spent in Malaga because of its excellent and health-giving climate, and many of the pictures in this exhibition were painted there. Of course he also visited Gra- nads, Segovia, Seville and other well known places. But he liked best and found most interest in the little Spanish towns to which tourists seldom go. And everywhere he went he met with the utmost courtesy and kindness. In one small town, when he tried to paint, people gathered around so closely that his view was obstructed and the little boys gave him no peace. There was one policeman in that town, and he, noting the difficulty, armed himself with a long bamb-o fishing pole, stood behind the painter and when any one came too near tapped him with the peole. Patiently he stood at guard, protecting the painter until the work was done, refusing all reward save the painter’s thanks. There is no suggestion in these paintings by Mr. Sawyer of an effort to be impressive, of a purpose to set forth that which might be considered typical of Spain. Instead, the visi- tor must realize that here are pictures painted for the sheer love of the painting and because of the subjective~inherent appeal. And how delightful are these places and things that Mr. Sawyer found in Spsin—“The Old Mon- astery Los Angeles™ in Malaga, the old steps worn by seven hundred years of service lead- ing up to Santa Maria de Simes at Pontevedra, the twelfth century cathedral of Santiago de Compostela, the warm sunlight bathing its beautiful towers, standing surrounded by red- roofed, yellow stuccoed houses; the beautiful Roman bridge in the Balearic Islands, sue- ceeding arches of a Roman and a Moorish aqueduct at Merida, the corner of an Anda- lusian garden with golden oranges and yellow lemons hanging from the trees, the Alcasar 8t ‘sanset—a dream palace and sunset on -the AD N[ AND 7 LENA MECHLIN Oils and W ater Colors at the National Gallery. Educational Program of Phillips Gallery. Baltimore Exhibition— Other Notes. “Seven Hundred Years of Service,” a painting by Wells M. Sawyer. In the exhibition at the National Gallery of Ari. Gibralfaro, reminding one of a magician’s touch. In quite a number of tliese paintings figures are introduced, lending human interest, such, for instance as “A Vender of Fich, Malaga,” a man carrying great platters suspended from a yoke as though he were human scales, or “Fisherman, Late Afterncon,” a man seated on the shore. There are 44 of these paintings in oil and 24 water colors, the latter hung in the adjacent hallway. Most lovely, perhaps, among the latter are “Shrine, Cristo de Mina, in Santo Domingo Church,” an exquisite piece of in- terfor painting, and “The Shower, Torremo- linos Mountains,” done with great breadth and at the same time subtlety of expression. It is the unusual that Mr. Sawyer in almost every instance seems to have sought out, but not the strange. He shows, for instance, among his water colors a fragment of the “Walls of the Alhambra,” “A Corner in Cambados,” “An Old City Gate” at Valencia, a glimpse of the remote village of Puerta Pollensa, Majorca; a sketch in a “Market"—Spain, not of toreadors and brigands, but of the Spanish people — sunny, picturesque, happy, apart, still a remote country and at the present time experiencing great changes. The majority of these pictures, were shown in 1929 in the Museo Nationale des Artes Moderno, Madrid, under official Spanish aus- pices. Representatives of the government opened the exhibition and after private in- spection received invited guests. High praise was accorded the artist by Spanish eritics. Some of these paintings were shown in New York, but a number have not before been ex- hibited in the United States. It is particularly appropriate that this exhibition should be held in the National Gallery of Art here at the National Capital. T the Arts Club, 2017 I street, Margarete Lent and Lona Miller Keplinger are hold- ing a joint exhibition, Miss Lent's work being hung in the reception room and dining room, Mrs. Keplinger's in the audi- torium gallery. Both are water colorists, but each handles ber medium quite differently. Miss Lent's works are strong and bold and very direct, whereas Mrs. Keplinger's are more gentle in aspect and more reserved. Very lovely are Mrs. Keplinger's paintings of flowers —bowls of zinnias, Jdpanese iris, dogwood and Harrison yellow roses rendered with a delicacy which suggests the texture of the flowers and their perishability, evoking in the observer not only admiration but, if a flower lover, love. Here is spiritual quality of a rather rare sort, a depth and significance below the surface. Some of this same quality creeps into Mrs, Keplinger’s landscapes, but i is in the more intimate studies that she is at her best. In these she is exceptionally good. Miss Lent’s exhibition, noted in these columns last week, consists chiefly of outdoor pictures, landscapes with buildings, though she includes one or two interiors. They are works which are seen most effectively at a distance and which would hold their own with paintings in the stronger oil medium. Particularly impressive and pleasing is one of a glimpse through tree branches of a local alley, by no means un- picturesque. IN the great court of the Agricultural Depart- ment Building was shown for four days the first of last week an exhibition of works by Government: architects representing the archi- tectural divisions of the War and Navy De- partments, the Veterans' Bureau, the supervis- ing architect’s office of the Treasury-—members of what is known as the Association of Federal Architects—and including not only official but private works. It is unfortunate that this exhibition was for so brief a period, for it was upheld to a high standard and well worth seeing. Most striking, perhaps, to the casual visitor was the variety of styles in which the public buildings were designed by these architects; there was no set official style. Apparently the buildings were designed for particular places and with understanding of particular needs, climatic and otherwise. For instance®buildings in the South were in Southern style, in the Southwest in Indian or Mexican, in Southern California in Spanish mission. A hospital for Albuquerque was in the style of the Indian Pueblos, admi- rably adapted; buildings for the Northern por- tions of the United States were equally suitable the erection of buildings which will in their turn help to determine the taste of the people who see them daily! Lending to this exhibition were Wumer- ous dscapes, city pictures, even A AK HE Phillips Memorial Gallery issued last week its educational program for the season of 1931-32, and although Mr. Phillips in a fore- word states that “for the present we educate under difficulties,” there is an amazing amount of opportunity here offered. On Thursday evenings in November, Decem« ber and January informal conferences will be held at the gallery. The November conferences will be under the general topic, “The Artist Sees Differently.” In December the three talks will be on “Christian Religious Art,” before the fourteenth century, Giotto and some Italian primitives of the Renaissance and of today. The January talks will be on the “Influences of El Greco, Cezanne and Van Gogh.” Visitors and friends of the gallery are welcomed to these informal meetings, for which there is no admission charge, but those wishing to attend are requested to give their names to Miss Bier in order that they may receive notices and be placed. Special courses in drawing and painting are announced, consisting of three studio classes and one lecture weekly; painting and life classes Mondays, Wednesdays and Fridays from 2 to § pm. There is an experimental course for pro- fessional painters, an amateur sketch class, a Tuesday life class and a high school students” Saturday course. Artists who wish studio space privately for their own work are offered facili- ties. Groups desiring docent service or gallery talks by members of the staff may arrange for such in advance. Teachers in public and pri- vate schools may conduct their classes in mod- ern art in the gallery, using as illustrations original pictures, and a small gallery on the Q street level, at the foot of the main staircase, has been set aside for the exhibition of works of artists who at one time or another have worked or studied in the gallery studios, many of which are for sale. A small group of pictures from the Phillips Memorial Gallery is lent to the art section of the Public Library, Ninth and K streets, where a well rounded library on modern art is avail- able for study. Among the American Federa- tion of Arts’ traveling exhibitions are no less than three this year of painting le=t by this more than generous institution, “le Phillips Memorial Gallery of Washington, Tmrqunmozsm.m&m:- galleries at 1106 Connecticut avenue will take the form of a private view Tuesday eve- ning, November 3, for which cards of invitation have been issued. From Wednesday, November 4, to the end of the month, they will be free to the public. The major group in this comprehensive showing will consist of paintings by Mr. and Mrs. Albert Herter of New York and California. Mr. Herter, it will be remembered, is one of those who rendered large service in recreating an interest in tapestry-making in this country, and for many years conducted the Herter Looms, but he is also a competent painter and an extremely gifted designer. Included in this exhibition will be certain sumptuous pieces of silk textiles that Mr. Herter has designed and executed by an entirely new method, ma- terials which rival in beauty both of design and color the fabrics produced in Italy dur- ing the great Renaissance. There will also be included in this show- ing a group of paintings by W. Lester Stevens of Rockport, Mass., and Princeton, N. J., one of the strongest of our younger painters and one of the most sincere. In the section of black and white there will be a delightful series of illustrative drawings in pen and ink by Thornton Oakley, one of our Ileading American illustrators, made as illustrations for books of travel in France, Spain and Italy written by his gifted wife, Amy Oakley. American etchers will be represented ad- mirably by Andre Smith, who is both tra- ditional and modern, working at pleasure in either one, a brilliant technician, a very genu- ine artist. Dewing Woodward, one time of the Blue Dome Fraternity near Kingston in the Catskills, later of Florida, will show a group of silver points. There will be small bronses and a fashion show. : ORDON DUNTHORNE has, within the last week, removed his galleries a block farther south on Connecticut avenue and is now occupying rooms in the Mayflower at the core ner of Connecticut avenue and De Sales street, where he is showing some rare and interesting prints. Opening tomorrow, an exhibition of litho- graphs by Albert W. Barker of Moylan, Penn., will be shown in these galleries. Mr- Barker, though appearing only recently as a print- Continued on Eighteenth Page AC EMY— Professional Commereial 1333 FSENW. o ME 2883 Abbott Art Sehes Day and Evening Classes. Children’s Saturday Class. 1624 H St. N.W., Corner 17th 1. 0.0.0.0 .0 ¢ Felix Mahony’s ational Art School (747 R.1. Ave. North1114