Evening Star Newspaper, February 14, 1932, Page 86

N Calendar of Exhibitions CORCORAN GALLERY OF ART, Seven- teenth street and New York avenue. Permanent collection. Paintings by Richard S. Meryman, February 2 to 29. PHILLIPS MEMORIAL GALLERY, 1600 Twenty-first street. Permanent collec- tion with recent acquisition and group of paintings by Washington artists. Special exhibition of paintings by Wall Kuhn and Giffrrd Beal, opening Feb- ruary 7. NATIONAL GALLERY OF ART, Tenth and B (Constitution avenue) streels northwest, Permanent collect’on. SMITHSONI INSTITUTION, Tenth and B strecis soutuwest. Etchings by J. C. Claghorn, February 1 to 29. FREER GALLZIY OF ART, Twelfth and B streets southwest. Permanent collection LIBRARY OF CONGRESS, Print Divi- sion, F.rst strest belw=en East Capitol and B strecis southrast. Lithographs by Joseph Pennel’. Loan exhibition of Jap- anese Prinis, January 15 to March 15. ARTS CLUB OF WASHINGTON, 2017 1 street norih c»:t. Paintings by Felicie Waldo Howeil: Pl otographic Composi- tions by France: Benjamin Johnston, February 14 (o 26 TEXTILE MUSEU 2330 S street north- west. Rugs. tap : and other textiles of the Necar an? Far East. Open Mon- days, Wedne days and Fridays, 2 to 3 o'clock. Admis-.on by card, obtainable at the office of G. H. Myers, 730 Fif- teenth street northwest GORDON DUNTHORNE GALLERY, Connecticut avenue and De Sales street. An erhibition of decorative paintings and drawings of Mcxico by Olin Dow and Thomas Lz Faro:. beginning Feb- ruary 1 SEARS, ROEBUCK & CO., 1106 Con- necticut avenue Paintings by Jerry Farnsworth, Helen Sawyer Farnsworth, J. M. Lic winer ard Theodore J. Morgan. B Fr nts by Susan Ricker Knox, Prints by Leoo-re, Lacquer Paint- ings by Jean Dunand and Lacquer Screens by Jean Pellenc, Bronzes by Bourdelle, Pa.ntings and Sculpture by members of the National Association of Women Pa nters and Sculptors, Pot- tery shoun by the Art Division of the American Ceramic Society, February 2 do 27, inclus : HOWARD UNIVERSITY GALLERY OF ART, Sixth sircet and Howard place. Student murals of the Master Institute of the Roerich Museum, New York, February 1 to 29 Special erhibition of paintings by Negro artists, February 7 to 14. Exhibition of Sculpture shown under the auspices of the College Art Association. Febrvary 15 to 28 JANE BARTLETT'S, 1247 Connecticut avenue. Exhibition of sport subjects in Water Color and Scvipture by John W. Dunn and Kathleen Wheeler, Pebruary 1 to 15. HE Folger Shakespeare Library as a work cf art is a great asset to Wash- ington—not only an exhibit, but a permanent exhibit, adding fer all time to the beauty of our National City and witnessing to the ability of contemporary artists to create new beauty with old materials, to speak the language of the past in the modern idiom so that both past and 4epresent become a part of the same tradition. In its grave simplicity the exterier of the Folger Shakespeare Library is classic, according with the style of our great Government build- ings, but in its design, the placement of grilled windows and the severity of outline, it is dis- tinctly modern; nothing like it has been erected before. And yet the architect of this buiMding, Paul P, Cret of Philadelphia (to whom, it will be remembered. the Bok Philadelphis prize for distinguished service was given last year) has most skillfully, and perhaps daringly, introduced a8 a decorative feaiure of the facade, a series of pictorial panels in high relief, illustrating scenes from Shalkespeare’s plays which cen- form neither to classics nor modern usage. These panels are by John Gregery, one time fellow in sculpture of the American Academy in Rome. They are nine in number, and are being carved on stones which are already in place. Primarily, these panels are illustrative. Each tells its own story, but is in effect merely & unit of a large decorative scheme. And how well they tell their story, how admirably the sculptor has interpreted the spirit of each drama! In “The Merchant of Venice” panel Portia is the central figure, and in her place- ment, in the folds of her robe, there is a cer- tain archaic convention, but the figure is much more than a symbol—it is alive. In the outline of the head and the gesture of the two outstretchcd hands—one staying the eager, avaricicus Shvleck, the other resting on the parchment where is “writ the law,” the em- bodiment of justice—there is indication of char- acter, individuality. This is the Portia not of “the stage, as presented by a great actress, but as created by Shakespeare, a universal type. And 30 in each of the panels—“Macbeth,” “King Lear,” “Midsummer Night's Dream,” ‘Hamlet,” “Julius Caesar’—the sculptor seemns to have seized upon the vital theme around which each play is built and interpreted it pic- torially, so that “all who run may read.” Some of the figures are in quite high relief, the modeling broad and beld, but in every instance assured—done to be carved not cast, done for interpretation in stone, building material and <With a full realization of architectural require- ments, art of a very high order. THE SUNDAY STAR, O\ WASHINGTON, D. C., FEBRUARY 14, 1932, AND s LEHILA MECHILIN Folger Shakespeare Library Adds Much to Beauty of National Capital—The Mery- man Exhibition at Corcoran—Other Local Art Notes. “Pyck.” by Brenda Putnam. A4 statue which is the chief ornament of a foun- tain on the west side of the Folger Shakespeare Library. The Folger Shakespeare Library stands, as all Washingtonians know, sufficiently back from the street to have a setting of lawn and yew trees. On the west side, facing the rear of the Library of Congress, a fountain has been placed which is to have as its chief ornament a kneel- ing statue of “Puck,” by Brenda Putnam, daughter of the librarian of Congress. This statue, to which the Shaw prize was awarded when shown in the National Academy of De- sign’s 1931 exhibition, follows in & measure eon- temporary style, borrowing something frem the archaic, but combining with it that which is most vital today—a sense of movement. Puck, full of mischief, is represented on one knee, both hands upraised. graceful drapery falling from the left arm over the right knee, head turned sharply to the left, with an expression of animation. Every one, or almost every one, knows, to their advantage and joy, Brenda Put- nam's little sea-urchin sun dial, done with in- imitable charm and the spirit of gayety. Her “Puck” for the Folger Library is comparable, but different, & work of greater maturity. That it will find permanent and such excellent place- ment here is matter of congratulation. It should not be supposed, however, that the Folger Shakespeare Library is merely externaliy a work of art, for the fact is that the exterior simply prepares the visitor for that which is within. With amazing cleverness the architect, after creating a classic exterior, without vio- lence produced an interior which is distinctly Elizabethan. Every detail has apparently been carefully considered, consciously designed, beau- tifully related. In whatever direction one looks there is something to charm, and yet the effect is that of great simplicity. In the north fron% is a gallery wherein will be displayed some of the rarest Shakespeare volumes for the in- terest and inspection of the public. Adjacent, and of similar proportion, on the south side, is the lbrary, which will be open only to stu- dents—a magnificent room with vaulted ceiling, alcoves and balconies and, perhaps best of all, a great fireplace and cpen bookshelves. At one end of this library has been placed a replica of the Shakespeare Memorial in Trinity Church, Stratford-on-Avon, to the right and left of which hang large portraits of the donors, Mr. and Mrs. Folger, painted by Salisbury, the pop- ular English artist. At the opposite end is a great Gothic stained glass window with stone tracery similar to that in Trinity Church, Strat- ford-on-Avon, which has been destroyed. This window, by Nicola d'Ascenzo of Philadelphia, represents the “Seven Ages of Man,” as de- scribed in “As You Like It.” Between these ex- tremes are alcoves, each with its decorated win- dow, all the work of d’Ascenzo. In addition to its great book and manuscript coliection, numbering over 70,000 items, the Folger Shakespeare Library includes a con- siderable number of paintings in oil and water colors, and prints of Shakespearean subjects. Among the oil paintings is Reynolds’ portrait of Garrick, portraits by Lawrence, Romney t masters of the English achool. water colors there are more than 2,000, and prints due hibited. Perhaps, however, the greatest exhibit that Polger Shakespeare Library affords is its Elizabethan Theater, which represents a bal- grea! €o the number is 15000 and upwards. time these will be assorted and exact appearance, is so scanty and unauthentic Mr. Cret preferred to create his theater the spirit of tradition rather than according specifications or in imitation of the past. The stage has the triple feature of fore-stage back-stage and upper-stage, but it has an effects may be produced. Thus again the old and new join hands. The Folger Shakespeare Library is to be formally dedicated in April, after which it will be open to.the public and iis collections available to students. Artistically it is a great asset to our city, a munificent gift. HE portraits and landscapes by Richard S. Meryman, in the special exhibition which opened at the Corcoran Gallery of Art Feb- ruary 2, to remain on view throughout the month, give evidence of exceptional talent and competence. As many of the 22 portraits are of men and women who are or have been Washingtonians, a number of them well known to the public (such as Dean Wiliiam A. Wil- bur, Dr. George F. Bowerman, Theodore W. Noyes and Clifford K. Berryman), one can the artist’s ability to achieve a faith- which is, after all, a chief requi- . In addition, Mr. Meryman on the canvas well variety in the i:wkgrounds some of the portraits be- . William M. Irvine in light green being a par- relief{ against a wa ticularly effective axample), while other sub- Jjects are painted in settings handled realis- tically, and inclusive of bits of well rendered still life. Among these are the portraits of William Montgomery, Dr. Rufus W. Weaver and Dudley Perkins. The last is an especially striking piece of work, beautifully balanced in cemposition, and having a bold color scheme in which red, blue and yellow predominate, This typical American youth is so forcefully presented, in his plain blue sweater, that he dominates the picture despite the detailed ren- dition of the vividly colored Oriental hanging behind him. A third group of portraits in the current displays includes backgrounds handled, not realistically but suggestively, as backdrops on the stage. Such, for instance, is the paint- ing of the New England fishing schooners in the portrait of Dean Wilbur. which illustrates an incident in the lives of two of his ante- cedents. The landscape background in the portrait of Gen. Wilds P. Richardson is like- wise handled decoratively, in marked contrast to Mr. Meryman’s painting of landscape per se, which may be studied in the 14 examples. His handling in this class of work is broader and more impressionistic, giving his landscapes strong carrying quality. “Glacier, Moraine Lake” is particularly attractive, having a well defined design and unity of color scheme in which grays and tans are softened with violet. F. 8. B. ATER COLORS by Pelicie Waldo Howell, formerly of this city, now of New York, will occupy the gallery at the Arts Club from today to Pebruary 26, while in the reception room will be shown photographic compositions —sunlight and shadow in old gardens and on old walls—by Frances Benjamin Johnston. Miss Howell was a pupil of the Corcoran Art School of the Philadelphia School of Design for Women and of Henry B. Snell. She is a mem- ber of the New York Water Color Club, the National Association of Women Painters and Sculptors, the Washington Water Color Club and other professional organizations. She is one of the few who secem to have been in- variably successful. Almost as soon as she be- gan exhibiting she became a prize winner, and among her honors are some of the most coveted prizes awarded to painters both in oil and in water color. She made her reputation in the first instance by city or town pictures—streets in Gloucester, in Salem and other New England villages which have gutgrown their village sim- plicity, but retained sufficient evidence of earlier days to witness to a tradition of good taste. Because of her accurate and artistic delineation of old houses. Miss Howell has received some interesting commissions to paint portraits, as it were, of houses cherished by their owners for historical reasons or personal association. But in addition to these she has from time to time painted houses in various localities—in Lower New York, old Boston and elsewhere, which have great charm. A num- ber of such studies by Miss Howell were ex- hibited, it will be remembered, at the Corcoran Gallery of Art a few years ago. But Miss Howell is not one to restrict herself to a single subject, and her decorative flower paintings are quite as popular, if not as well known, as her pictures of streets and houses. In recent years there has crept into Miss HMowell's work a toneful quality, a note of ma- turity, which has evidencéd growth and with- out loss of that spontaneity which is associated with youth and fresh vision. Miss Howell has had the honor of being in- vited by the Carnegie Institute, to serve on ite international jury, an honor accorded to com- paratively few women painters. Prances Benjamin Johnston is a Washingto« Continued on Sirteenth Page ACADEMY— 1333 F St. N.W. 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