Evening Star Newspaper, March 12, 1933, Page 64

THE SUNDAY STAR, WASHIRGTON, D. C, MARCH 12, ARl AND Ak LELA MECHLIN 1933. Calendar of Exhibitions CORCORAN GALLERY OF ART, Seven- teenth street and New York avenue. Permanent collection. Annual erhibi- tion, Washington Water Color Club. March 3-30. NATIONAL GALLERY OF ART, Tenth and B (Constitution avenue) streets northwest. Permanent collection. Spe- cial ezhibition paintings by Cesareo Bernaldo de Quiros of Argentina, January 13 to March 13. SMITHSONIAN BUILDING, DIVISION OF GRAPHIC ARTS, UNITED STATES NATIONAL MUSEUM. Etchings by Sybilla M. Weber. Febru- ary 37 to March 26. FREER GALLERY OF ART, Twelfth and B streets southwest. Permanent collection, LIBRARY OF CONGRESS, print di- vision, First street between East Capitol and B streets southeast. Permanent collection. ARTS CLUB OF WASHINGTON, 2017 I sireet. Paintings by Anthony Thieme of Boston and Sarah Baker of 3alti- more. March 5 to 19. PHILLIPS MEMORIAL GALLERY,- 1600 Twenty-first street. Open Satur- days from 11 a.m. to 6 p.m. TEXTILE MUSEUM OF THE DIS- ' TRICT OF COLUMEIA, 2330 S street northwest. Rugs, tapestries and other textiles of the Near and Far East. Open Mondays, Wednesdays and Fri- days, 2 to 5 o'clock. Adm.ssion by card obtainable at the office of G. H. Myers, 730 Fifteenth street northwest. PUBLIC LIBRARY, Central Building, Ninth and K streets. Photographs of Greece, by C. H. Whitaker. Ezhibition of Good Printing, assembled by the American Federcton of Arts. Opening March 15. MOUNT PLEASANT BRANCH, PUBLIC LIBRARY. Paintings by members of the Studio Club of Washington. NORTHEAST BRANCH, PUBLIC LI- BRARY, Seventh and Maryland ave- nue northeast. Paintings by Washing- ton artists. GORDON DUNTHORNE GALLERY, 1005 Connecticut avenue. Etchings, “Los Caprichos,” by Goya, and color wood block prints, by Gustave Bau- mann of Santa Fe. ART LEAGUE OF WASHINGTON, 2111 Bancroft place. Paintings by Lillian Moore Abbot, Charles Surendorf, Chil- dren’s Art School. March 1-15. ART GALLERY, HOWARD UNIVER- SITY. Drawings, paintings and designs lent by the Master Institute of the Roerich Museum of New York; exam- pics of the graphic arts from the gal- lery’s permanent collection. March 1 to 31. SEARS, ROEBUCK & CO. ART GAL- LERIES. 1106 Connecticut avenue. English portraits and works by other great masters—Carroll collection. Bul- garian folk embroidery, paintings by Ivan Swilt, etchings by Seibold, litho- graphs by Beekman, March 8 to 31. RARE BOOK SHOP, 822 Seventeenth street. Hand-colored prints, North American birds, by Rex Brasher. To continue to March 31. HEKIMIAN GALLERIES, 1214 Connect- icut avenue. Ezhibition of Persian art assembled for Century of Progress Ex- position, Chicago. Opecning March 16. TEN O'CLOCK CLUB. 1603 K street northwest. Paintings by Grace Merrill Ruckman. February 26 to March 17. THREE MUSKETEERS SHOP, 1529 Connecticut avenue. Irdian tribal arts. March 8 to "~ ENRY K. Buoa-onowN has lately completed two large sculptured panels in relief for the new United States post office at Wellsville, N. Y., which was dedicated and opened a little over a fortnight ago. These panels are 11 feet long by 4 feet high and are 4n three divisions each. The main dlvision of the first panel gives in relief a pictorial repre- scntation of a group cf Indians—representa- , tives of the five Iroquois tribes brought to- gether by Deganaweda about 1570 to form “he first League of Nations, peaceful in its intent, the only one, it is said. to have endured for over 300 years. By reason of the treaty with this league most of these tribes were loyal to the Colonies during the Revolutionary War. The imposing figure of Deganaweda is seen in the center of the group, the peace pipe held by its long stem in his right hand. In the foreground kneel or sit representatives of the five tribes, three to the right, two to the left. In the rear there are standing figures, among them an Indian woman holding her papoose, ¢ child by her side. The arrangement of figures is extremely pleasing, alert with action and vet reposeful in dignity. - In subsidiary panels, slightly higher in plan thmn the center panel and outlined rather than deeply modeled, fre, on one side, a representation of an Indian mother teaching her son to shoot an arrow straight and strong, and to the right Mary Jemison beside her Indian husband, with her fnfant child on her back. The variety in treat- ment of these subsidiary panels is extremely foteworthy. Enhancing the architectural effect P MW -wmin® 7 2RO RINE g Washington Artist Completes Panels for New York State Post Of fice—V arious Exhibi- tions in Galleries of the City. “Interior,” by Lillian‘Moon’ Abbot. Included in exhibition at Art League « Galleries. are the ends of two totems crossing the lower margin of the main panel. These bear symbols of the -Indian clans—bear, wolf, snipe, turtle, deer, beaver, hawk and crane. The second panel, placed at the opposite end of the post office lobby, represents white settlers of the Genesee Valley. The central figure of the main panel is the dominant pioneer with an ax in his right hand and an adze in his left, symbolical of the woodsman and home builder. There are three standing figures on each side here, not counting a little child in its mother's lap. The figures on the right represent agriculture and manual labor; on the left, engineering, road bullding, etc. Giving local placement and flavor are an oil well Herrick on one side and the trestle of the well known bridge at Portage Falls near Wells- ville on the other, sket~hily indicated. The sub- sidiary panels in this instance represent, om the left the trapper, and on the right the family. The totems bear symbols of the “major arts which nourish the soul"—religion, music, poetry, architecture, painting and sculpture. The commission for these panels was given by the Federa] Government to Mr. Bush-Brown last Summer, but it was not determined until October whether they should be in stone or in terra-cotta, and until this determination was reached the sculptor could not proceed with his work, as the two methods require different technique. Stone was finally agreed upon, and not only did the sculptor model the originals and superintend their casting, but lent considerable aid in the matter of cutting. Therefore, with what seems almost miraculous rapidity she works took shape, were completed and in place when the building was dedicated. Panels by Henry K. Bush-Brown of Washington for the post office at Wellsville, N. Y. The upper represents the pioneer setilers; the lower, the Iroquois eace. League of P Mr. Bush-Brown is best known for his por- traits in the round and monumental groups. among the latter his buffalo group, the cast of which for some time was given placement in the Union Station in this city. Among his best known portraits is one modeled from life of the late Viscount James Bryce when British Ambassador to the United States. He is, it will be recalled, a nephew and pupil of Henry Kirke Brown, the sculptor of the fine equestrian statue of Washington in Union Square, New York, and the statue of Gen. Scott in Scott Oircle in this city. Mr. Bush-Brown has been identified for some years now with art in Washington, and invariably makes his home here in the Winter. . HE exhibition of paintings by Anthony Thieme of Boston which opened a week ago in the gallery of the Arts Club of Wash- ington is uncommonly engaging. Mr. Thieme is one of the few who has been able to win the respect and admiration both of his profes- sional colleagues and of the public. His works have found admission to the leading exhibitions and received numerous much-coveted prizes, but they have also invariably found a ready market, the reason for which is not far to seek. For whereas his pictures are well painted, without exception they possess charm. Say what we will, beauty does make appeal. Anthony Thieme is a native of Holland, having been born in Rotterdam in February, 1888. Before coming to this country he studied under masters at the Hague and in Italy. Un- doubtedly he has been influenced by the works of the modern Duich masters, not of tod:y but of the latter half of the century—men who loomed large at that time—Mauve, Maris and others. Mingling with this influence is that of the colorful painters of Italy—Mancini, under whom he studied—a great, if eccentric, genius. But for some years Mr. Thieme has been living in this country and has been painting Ameri- can subjects. He conducts a Summer school at Rockport, and he paints Gloucester fishing boats, New England houses, subjects which have been painted again and again but which never lose their interest, and he has painted them differently, in strong contrasts of light and shade, with a brush full and free. And he has produced colorful pictures rich in tonal quality which lure the eye and satisfy the observer’s esthetic sense completely. No one could fail to like Mr. Thieme's boat pictures, but some may prefer still more his pictures of old New England doorways flecked with sunlight, such as “Fishermen’'s Haven” or “The Old Doorway.” These are not all large canvases, some are quite small—pictures suitable for the home, intimate, satisfying. Since 1927 Mr. Thieme has been winning prizes in our American exhibitions, both by his water colors and his oil paintings. But last year he went back to Eurcpe and exhibited a group of his works in Amste cam and Rot- terdam, Brussels, London and Paris, winning favorable commencation in each place. Quite a number of our American museums have al- ready acquired paintings by Mr. Thieme for their permanent collections, among them the Museum of Fine Arts, Boston; the Dayton Art Institute, the Albany Art Institute, the Museum of Fine Arts, Los Angeles, and little Springville in Utah. as well as the Iowa State University. UCH can be said in favor of the paintings by Lillian Moore Abbot of this city now on view at the Art League of Washington, 2111 Bancroft place. This is the first comprehen- sive showing of Mrs. Abbot’s works that has been held, although she has regularly con- tributed to exhibitions held by the local so- cleties. The majority think of Mrs. Abbot as a painter of flowers and still life, but in this exhibition she shows portraits, an interior and several landscapes, witnessing to breadth of interest and exceptional versatility. Of the 24 exhibits set forth, at least half, however, are of flowers and flowers very sym- pathetically rendered. Most charming is a study of “Dogwood,” painted with lightness of touch and apparent keen sense of beauty. Very pleasing also are “The Rose Bowl,” stud- ies of gladioluses, zinnias, double tulips and peonies. Of the three portraits shown, one of Dr. Howlend is perhaps most pleasing, being very simply rendered and with evident skill. Among the landscapes a bit of woodland, Continued on Thirteenth Page Critcher School of Painting and Commercial Art 1726 Conn. Ave. Pot. 2539-W THE CORCORAN SCHOOL OF ART Tuition FREE Annual Entrance Fee, $25.00 F elix Mahony National Art School 1747 R. L. Ave. NAT. 2656 Hill School of Art Sculpture—Painting—Etching ¢ Dupont Circle North 1271 Abbott Art School Exhibition of Students’ Work 1624 H St. N.W., Corner 17th