Evening Star Newspaper, October 27, 1935, Page 60

F—4 CARLSEN STILL-LIFE E [ 2 WIDOW PRESENTS PAINTING 4The White Jug” Typical of Mystical Perception of Renowned Artist—Reinhart Exhibition at Library of Congress Recalls Era of Magazine Illustration—Other Showings Reviewed. By Leila Mechlin. =F~\HE Corcoran Gallery of Art has, during the past week, added to its permanent collection & painting by the late Emil Carl- ésn, It is a still-life entitled “The hite Jug,” which was included in the gallery’s Eighth Biennial Exhibition, held in 1921, and is given by the art- ist's widow. Emil Carlsen won re- Yown as a painter of the sea and of still-life; the Corcoran Gallery of Art gome years ago acquired through pur- chase one of his sea pictures, but it had no example of his still-life paint- ing, which deficiency now, through "Mrs. Caflsen's generosity, has been Temedied. It is a notable gift. Born in Copenhagen, Denmark, in 1853, Emil Carlsen came to this coun= try in 1872 and completely identified himself with American life and cus- toms. At the Danish Royal Academy in his youth he studied architecture and from this study certain character- istics in his work may have been de- | rived—such as monumental quiet and | dignity. He received many awards and his paintings were sought and ac- -quired by the leading museums, but he was always reticent, retiring, living completely for and in his art. He was @ great craftsman and his standard was invariably one of perfection, but only as a means to an end, and that end fuller and more adequate expres- sion. Especially sensitive to beauty, shis great desire was to make it mani- fest, not as with a blare of trumpets, but rather as the whispering of the ‘wind in the trees. It was the calm sea he liked best to paint, in all its doveliness, and the still-life group made up of homely things made beau- tiful through subtle nuances of color. Whatever he produced was the ex- pression of himself, not conscious and never forced, but spontaneous and wvery sincere. It could not have been otherwise; it was himself. Arthur Edwin Bye in his delightful book entitled “Pots and Pans,” de- wvoted to the subject of still-life paint- ing, refers to Emil Carlsen as “un- questionably the most accomplished master of still-life painting in Amer- ica,” and says that to the observant it is evident that he lifted his art to a Jheight it had never reached before. Admitting that Carlsen based his art on the Dutch and on Chardin, Mr. Bye insists that notwithstanding he was a modern—*“as independent as any- body”—and with old materials had given new interpretations. “One cannot help but feel,” he con- tinues, “after studying several ex- amples of Carlsen’s still-life that the painter experiences in his work emo- tions of .an esthetic character more profound than those of the great mas- ters of still-life paintings, from Chase and Vollon back tiirough Chardin to the Dutchman. Objects delighted the eyes of these men, but objects have & more mystical meaning to Carlsen; they delight his outward eye, but also his discerning inward eye, so that he saw not only appearance, but rhythm, music, poetry—serenity, dignity sub- limity—it is this additional power which make his still-life groups clas- sic.” And again: “He shows us not literal things, dead, prosaic; but forms which we cannot define, which elude, mystify and ensnare us.” All this was written the very year that “The White Jug” was first exhib- ited in the Corcoran Gallery of Art— and it is equally true of and applicable to it today. years after Mr Carlsen’s death, which occurred in 1932, a retrospective ex- hibition of his work was held in the Macbeth Gallery, New York, Edward ‘Alden Jewel restated somewhat the - same conviction in an article in the | ‘Times. He said: “The beauty of Carl- sen’s work seems to grow with the passing of time. He could produce wonderful results with such reticent, unassertive colors as gray and cool, dun silver, with delicately grayed whites and warm though low-keyed earth-browns. The quiet magic thus wrought is unforgettably exemplified by such still-lifes as “Iron Kettle” and *“White Jug.” “The White Jug” is indeed a sym- phony in grays and browns—a basket, & few brown-coated onions, a white jug—that is all—yet out of these he has wrought a masterpiece in beauty and significance. The longer one lives | with this work the more it has to say | —the greater its fascination is to the | eye, the allure to the understanding. | Paintings of this kind are reassuring. The catalogue of the Carlsen ex- hibition at Macbeth’s in its foreword had this to say of Carlsen's attitude toward contemporary trends in paint- ing: “While he had on quarrel with the theory that an artist should re- flect or interpret the life of his time, he was very impatient at much of the ‘sloppy work’ produced by some of the younger painters in their haste to ‘express themselves'—but he, him- self, kept on his even way, searching out beauty as it appeared and ap- pealed to him and reproducing it with infinite care, understanding and affection.” The justification of all these statements is to be found in the newly acquired painting. "THE sroup of orginal illustrations | by Charles Stanley Reinhart, placed on exhibition last week in the Library of Congress, is not only inter- esting in itself but as recalling a fleld in which American artists made, during the late years of the nineteenth and early years of the twentieth cen- tury. very worthy contribution. The public was picture-loving then as now, and, to meet demand, books and maga- gines were lavishly illustrated. To this work some of the great painters of the day turned their attention. John W. Alexander’s splendid por- trait of Walt Whitman, now in the ;themes as illustrations for Harper's Monthly; Winslow Homer was a “spe- ;clal artist” for Harper's Weekly dur- “ing a part of the Civil War. But perhaps more important than this is the fact that many of the fllustra- of necessity, what in this later day _has come to be known as “the Amer- “ican scene.”” In fact, try as they will —and do—the painters of today do not succeed half as well as did their less self-conscious forerunners in in- In fact, when nearly three | BULLETIN OF EXHIBITIONS. Corcoran Gallery of Art—Exhibi~ tion of winning designs for murals and sculpture for pub- lic buildings, under auspices Painting and Sculpture Section, Treasury Department. Opening on Tuesday. Exhibition water colors by Whitla Stinson. National Gallery of Art, National Museum—Permanent Collec- tions. Special exhibition, etch- ings by American etchers. and otherz Presented by the Chi- cago Etchers’ Soclety. Smithsonian Institution—Etch- ings by Ralph Flether Sey- mour, Freer Gallery of Art—Chinese paintings, Oriental art objects; paintings, drawings, etchings by Whistler, and paintings by other American artists. Phillips Memorial Gallery— Paintings and sculpture by contemporary artists and others. Studio House—New prints by contemporary print makers. Textile Museum of the District of Columbia—Rugs, tapestries and textiles of the Near and Far East. Arts Club of Washington—Paint- ings irt ol and water color by Hilda Belcher, paintings and drawings by Mary K. Porter. Library of Congress—Special ex- hibition. original {llustrations, by Charles Stanley Reinhart. Public Library, Main Building— Exhibition of Currier and Ives prints lent by the Library of Congress. Georgetown Branch Public Li. brary—Paintings by members of the Washington Landscape Club. Howard University Art Gallery— Exhibition paintings by mem- bers of the Chicago Society of Artists. | property is much more typical of America than paintings of small-town “beauty parlors,” which are much the same all the world 'round. Very rem- iniseant of the 80's in dress and ex pression are his pen-and-ink draw- ings, “Reading Letters From Home at the Bankers” and “Copyist at the Louvre.” That human nature does not change or the world turn back on its axis is evidenced by a grimly humorous drawing of a procession of “place hunters” at an official funce | tion, made as illustration for “Com- | edies of a Consulate,” published by | Harpers in 1896. Thirteen years earlier | In date is a series of character studles | made of “German Political Leaders,” none of whom would probably be ac- ceptable to the Nazis today, or know themselves in such company. Of the same year is “Funeral of a Little ‘Walf, Paris,” full of pathos and deep dramatic feeling. While to the year 1889 belong the illustrations to Fran- cis Hodgson Burnet's popular novel, “That Pretty Sister of Jose,” pen- and-ink drawings well suited to the accompanying text, but no better than need be. Charles Stanley Reinhart was born in Pittsburgh in 1844. When he was 18 years of age he went to New York and earned enough to go to Europe to study art. He was first in Paris, then in Munich, but at the end of two years his funds ran out and he | returned. Almost immediately he found employment at Harpers, stayed with them continuously until 1876 and worked for them off and on as long as he lived. His death occurred in 1896. He was one of the first to introduce “painter-quality” in illus- tration; for that matter his wash drawings are better than his pen-and- ink studies, and he undoubtedly did much to raise the level of illustration in this country. But he was not as strong or his style as individual as that of some of the men who came a little later. From 1881 to 1888 Reinhart had a studio in Paris, painted, exhibited at the Salon, received an honorable mention. In 1888, the year he re- turned home, the Pennsylvania Acad- emy of the Fine Arts awarded him the Temple Gold Medal. Reminiscent of his painting days is the study for a mural painting for the Chicago World Fair—a seated figure of a woman in classical drapery—included in this exhibition. And also presum- ably a “study” of a woman on the sea coast standing in a strong wind with telescope in her hand. But it was as an illustrator that he attained greatest fame. Among his colleagues he was held in high esteem. W. A. Rogers, a large collection of whose cartoons and illustrations is on display also at the Library of Congress in adjoining cases, writes of Reinhart with utmost admiration in his book, “A World Worth While.” “We used to look fora new drawing in Harper's Weekly by Reinhart,” he says, “or a new series of his in the magazine as an event. His pictures of Gambetta and other cele- brities in the French Chamber of Deputies were talked about for years.” With all the present-day commotion, art took on more importance in those days than these. Through generous gifts—such as this of the Reinhart drawings and others—the Library's “Cabinet of American TIllustration” grows by leaps and bounds. And this is well. GET to or pass from the exhibi- g5 1 i i E : g gER giEpfsinsis B g terpreting pictorially the aspects of contemporary life which were and American. Reinhart’s W-"Nom"l’tnonhhm quickening the esthetic sense. 1 The drawings, now - THE _SUNDAY STAR, WASHINGTON, D. C, OCTOBER 27, 1935—PART FOUR. the Arts Club, are attracting much favorable attention and with excellent reason. They are quite out of the ordinary and very charming. In some quite simple and apparently ob- vious way she seems to capture, in almost every instance, the impression of her subject in what Albert Sterner has termed “the heat of conception,” and given it permanence. One does not feel that either her oils or her water colors are profoundly studied, and her work is never labored, but she—like Emil Carlson—sees within as well as without, and it is the spirit which dominates. In her portraits the color is good, the pose usually pleasing, but it's what they tell of the person portrayed that gives them lasting interest. And that subtle thing may be, and often is, in the | turn of the head on the neck, or the way & hand rests in the lap. Hands ! seem to be Miss Belcher's special interest—their painting her special i achievement. Sometimes they are | very swiftly and lightly indicated, but | always they have character. And ‘ that reminds that the painter her- self is one of those few who knows | enough to never say too much—erring | | if anything—and wisely—on the other | side. In her water colors she has dis- | | tinctly the magic touch—holding her medium in command, yet utilizing its utmost potentialities. The people she paints are to & degree imbued with her own personality, poignant but reticent, courageous but gentle. “I do not know about modern art,” she says, “some of it interests me very | much, some I do not understand—but that may be my fault—I'm glad I do not have to judge it.” The fact is she is both modernist and tradition- alist—holding fast to the old but reaching out to the new. Her Negro | subjects, done last Winter in the South, are rhythmical, suggestive, | symbolic—and to that extent modern. Her portraits, on the other hand, are | rendered with close study and great | fidelity. Her grotesques—such as the painting in oils of an old woman with a cat—“Tomorrow and Tomorrow"— have a ghostly creepiness but at the same time a note of humor, like & Halloween prank. She paints cats admirably. But particularly tender and appealing are her portrait and figure studies of children, both in black and white and color. In these Miss Belcher is at her best. No wonder she wins prizes. [Holbrook Sees Race Forced | to Recognize Banality of Its Conversation. By Weare Holbrook. F THE anti-noise campaigners are successful our twittering nerves l may calm themselves. But the strain on the brain cells is likely to increase. When the great silence sets in the lost art of conversation must be rediscovered. Which means that & lot of people will have to think of something to say in a hurry— people who, up to now, have been getting by with mere nods and smiles. There is nothing so restful as con- versation, provided you don’t have to listen attentively. And in the present welter of city sounds it is impossible | to listen attentively for any length of | time. The safest thing to do is to set your features in an expression of eager understanding, with your head slightly on one side in a position which { might indicate either doubt or agree- ment. Keep the eyes bright and fixed Above all, keep the eyes open. Then you are free to let the mind wander where it pleases. ve screen of stands naked and unashamed. The social significance of noise could easily be demonstrated by tak- ing down a stenographic record of the remarks of any celebrity at s literary tea party and then reading it aloud in the privacy of & quiet room. Lulled by the clatter of tea cups, the diapason determined ANTIETAM CREEK BRIDGK Pen-and-ink drawing by Mary K. Porter, in the exhibition at the Arts Club. < NHANGCES CORCORA P\’ |Exposition of Department’s Work Will Cover Many Fields and Constitute Twenty- Third of Kind in National Capital. U ! WAYNESBORO, PA. Artist’s conception of proposed new Interior Museum. OF the water colors and pen and ink drawings by Mary K. Porter of this city, which, simultaneously, occupy the walls of the reception room at the Arts Club, much may be said in praise. They are well composed and picturesque and they have been of Miss Porter's flowery garden sub- rendered with care and sincerity. |jects. Some of these water colors Among the water colors, one of a have previously been shown in the “Doorway, St. Augustine, Fla.” is | Water Color Club's “annuals.” particularly attractive—colorful and | .Of special interest are Miss Porter’s well rendered. Pleasing, too, are some |pen and ink studies done in the A Now More Silent World Presents I the suburban stillness with apocalyptic emphasis. A small house in the country on a Winter night can develop more deci- bels per hour than a downtown apart- ment, especially if you are alone in it. {mumng a wisecrack. Shutters rattle in the wind, floors creak, the furnace coughs and clears its throat like an old man sleeping. Somewhere in the attic a cgicket chirps—an auditory will-o’-the-wisp that cannot be located and squeiched. Somewhere. in the cellar, water drips with just enough variety to hold the attention. ts C hallenge Protective Screen of Street Noise Removed to Show Nudity of Small Talk. | welkin shall not ring tonight. have | placed a ban on the tooting of auto- | mobile horns between the hours of 11 p.m. and 7 am. So far, the city fathers have taken {no steps to hush automobile radios. | It is quite possible that motorists, de- prived of their honking privileges, will sound their warnings by turning on the loudspeaker. Then the dilatory pedestrian will have to learn to jump at the sudden bleat of a torch singer or the snarl of hill-billy harmonicas. Since the agvent of the radid we no longer hear the laborious five-fin- ger exercises of the little girl next door. The little girl next door finds it simpler to twirl the dial and let paid professionals furnish the music. But | she may come into her own again, if the craze for broadcasting “amateur hours” continues. Radio seems to be lapsing into its second childhood; amateur radio performers are a fix- ture in every studio. The amateur ra- dio listener, on the other hand, is sel- dom encountered nowadays. He is, in case you don't know, a person who stops talking and actually listens to a radio program. T!N years ago when the radio was new and rather mystifying, we were all amateur listeners. Hovering reverently around the goose-necked loudspeaker, we marveled at hearing Mr. Kaltenborn as clearly as if he were in the next room. But now even the President of the -United States cannot interrupt our bridge game. A professional listener pursues. the whis- ky tenor of his way in the”face of Bach, Brahms, Beethoven and Buck Rogers, never missing & trick or In Dorothy Sayers' recent book, “The Nine Tailors,” the villain is done to death’by sheer noise. Miss Sayers is British and no doubt to one accus- tomed to the peace and quiet of rural England it is conceivable-that a surfeit of sound might be as deadly as poi- son. But to & New Yorker reared in the shadows of the “'L,” the idemseems | past. | reproduced as post cards—souvenirs By Don Bloch. | HERE'S going to be a new museum in Washington. It will be known as the Interior Museum, and is scheduled to open its doors upon the completion of the department’s new. building, in| December, 1936. | It will house exhibits narrating the history, functions and progress in the fleld of eight Department of Interior bureaus and offices—Indian Affairs, | National Park Service, Geological | Survey, General Land, Mines, Re-| clamation, Education and Teritories | and Island Possessions. A Secretary’s | office display, a synoptic collection of | departmental work will form the ninth | section of the project. The new museurs, the twenty-third | for Washington, will be unique in sev- eral respects, according to the pre-| liminary report on the five sections | thus far completed, released by Dr.| C. P. Russell, chief of the Eastern museum division of the National Park | Service. Especially will “technical or scientific explanation be avoided, or the introduction of & mass of un-| related material.” The Office of Indian Affairs exhibit, for example, will have five main parts: The prehistory of North America, aboriginal North American cultures, historical development of America's | Indian policy, the present adminis- tration of Indian affairs and modern Indian arts and crafts. Each of these main parts, of course, is many times subdivided and con- tains pictures, objects, maps and charts depicting the particular subject under visual consideration. One small section on the antiquity and distribution of early man in| America will contain a pictorial map | showing the nature and extent of gla- | clation in North America and the probable range of representative spe- cies of Pleistocene fauna; a map indi- cating the most likely migration route | by which this continent was peopled; a model group depicting the general characteristics of America's earliest inhabitants and the probable associa- tion of early man with extinct mam- | mals “brought out by & brief outline | of the main features of the Folsom point discoveries and their signifi- cance.” 'HIS also will contain two of the several vast dioramas being espe- cially painted for the new museum. One will show Fort Union in 1833 and will portray a scene at one of the earliest trading posts in the Far West. manner of illustrative work of the One series of these has been of rural Maryland and Pennsylvania— very charming. Uncommonly en- gaging in this group is an “Old Stone House” built on a hillside at Char- mian, Pa.; also one of a stone bridge over Antietam Creek, Waynesboro. If | we could have more souvenir postals | of this kind it would be a good thing. Why not? A SPECIAL exhibition of Whitla Stinson's water. colors opened Art. The subjects of the 31 paintings composing the collection were found for the most part in nearby Virginia and Maryland, but also sometimes as far afleld as Kittery and Ogunquit, Me. They are fresh in color and quite broadly handled. N EXHIBITION of the winning designs for murals for the decora- tion of public buildings throughout the country will open in the Corcoran | Gallery of Art on Tuesday under the auspices of the painting and sculp- | ture section of the procurement di- vision of the Treasury Department. This section was set up October 16, 1934, therefore the exhibition will practically represent the fruits of e year of effort. With the opening of this exhibition, announcement will be made of the winners in the competi- tions for murals and sculptures for the new Post Office Building and the Department of Justice Building in this city. This exhibition, which will occupy the two special exhibition galleries to the right and the left of the main staircase in the Corcoran Gallery of | deal of attention. The Federal Gov- ernment under the “New Deal” pro- gram plunged headlong into expendi- tures for works of art. The P. W. A. project which employed several thou- sand comparatively unknown artists to produce®15,000 works, chiefly easel pictures, in about four months was a first step, and the exhibition of selected examples shown in the Corcoran Gal- lery of Art in the Spring of 1934 prac- tically marked its conclusion. The painting and sculpture section of the Treasury Department was the out- come of this first relief program, but is not in any sense a relief project. The commissions awarded on the recommendation of this section are on merit and are made under the advice of invited, professional juries. There is, however, in connection with this section a Treasury relief art project through which about 400 artists— { painters, sculptors and craftsmen—will | receive employment. This is for the | so-called “white collar” class and the works produced will, it is understood, find placement in Government build- ings. And there is still a fourth project taking shape in the rural resettle- ment program for which Mr. Tugwell is responsible. This muitiplicity of effort for the advancement of art and the benefit of artists on the part of the Federal Government is a little be- to those who may be con- sidered as outsiders, but there will be nothing intangible about the exhibi- tion to open this week. In it art will speak for itself. UNDm the auspices and inspiration of the art department, & nice little art gallery has been fitted up in the basement ‘of the chapel facing the | campus at Howard University and some excellent exhibitions shown therein during the past two or three years. These are primarily for the benefit of the student body and those studying art, but they are aiso open to the public. For the current year a very good program has been arranged, including collections circulated by the Museum of Modern Art, the College Art Association, New York, and the American Federation of Arts of Wash- The first exhibition of the season sWflmml. b ui last week in the Corcoran Gallery of | Art, will undoubtedly attract a great | The underlying motive of the diorama will be “to show the change in the Indians’ economic system. te izlicate the progress of wufte cultural contacts on the fives of the natives. and to bring out the gradual extermination of the buffalo.” The other shows life on a modern reservation. ‘The General Land Office exhibit will be laid out in 21 separate parts, each one telling a distinct story. Some of these cases, maps, paintings, objects, will depict the development of the survey method; the connection of the Land Office with the settlement of the West, conservation of natural re- sources, transportation; land bounties, grants and patents. Miniature groups will show the Oklahoma land rush and grazing on public lands, and one complete display is devoted to Alaska, where two-thirds of the public land is located today. One feature of the Bureau of Recla- mation exhibit will be a series of wall and ceiling murzls depicting the win= ning of the West by irrigation. A dio- rama of Boulder Dam and one of the Columbia Basin projects at Yakima Valley will also have its specially de- signed niche in this section of the mu- seum. 2 Case displays will show the history | and organization of the bureau, views of the bureau’s dams and typical steps in the construction of a project. A large illustrated map ,of the West (where all Reclamation Bureau work takes place), displaying all Federal projects, will be featured. In addition there will be two swinging racks of photographs of works done, and in progress, by the bureau, and a case de- voted to historical documents of im- portant bureau jobs. The Geological Survey exhibit “has been planned to interpret the survey in a simple yet dignified way, under- standable to an adult layman and of interest to a professional scientist.” Among the most interesting features here will be one part, called the geo- | logic time table, in which will appear the classification adopted by the sure vey, and an accompanying suite of fos- sils to suggest to the layman the prine ciples of correlation and evolution. There will be, beneath an arch-shaped geologic cross-section of the United States, a series of five dioramas de- picting scenes relating to geologists | and topographers in the field, coal | mining, open-cut mining. develope | ments of power sites and oil-field dee | velopments. Cases will present miniature models of mining districts and cil fields, suites of ore specimens, exhibits showing methods of microscopic rock studies. Another diorama will represent the famous Roswell artesian basin, to illustrate the geologic and hydrologic | conditions that produce artesian flows. | Wall and floor cases will demonstrate how the survey gathers data for its thousands of survey maps and how these maps and charts are assembled. The_historic old boat used by Col. C. H. Birdseye in his notable mapping | expedition through the Grand Canyon in 1923 will form the exhibit's cen~ terpiece in the south hall of the museum. | 'THE Bureau of Mines display sece tion will devote itself to telling in simplified visual form the story of | the bureau. To that end it will con= | tain a series of paintings showing our | vast unseen empire under the earth | and cases displaying all minerals and metals found in the United States. Conservation of men and resources, model mines equipped with tiny men and tools, visual explanations of the bureau’s work in the new field of geoe physical prospecting. displays of safety devices in mines and a graphic dio- |rama showing a mine disaster will also be included in this portion of the | museum | This diorama, which will dominate the end of the alcove in the bureau's portion of the museum, is described as follows: dramatic moment at the mouth of a mine shaft following a serious explo- sion. The wrecked hoist and tipple fill much of the scene, while at one side stands the Bureau of Mines safety car. Beyond the storm fence in the background the frantic women and children fix the essential tragedy of the event. The central group is the rescue crew gathered about the bureau | engineer who is to lead them undere ground. They listen to his final ine stryctions as they adjust their oxygen apparatus. The last man is struggling into his as he runs from the safety car. It is the tense moment before these men disappear into the burning mine.” A memorandum of March 8 of this | year established an Interior Museum | Exhibits Committee composed of Dr. Russell as chairman, Dr. Alexander ‘Wetmore, executive secretary of the | National Museum, and Miss Edna Groves of Indian Affairs. Upon the recommendation of this committee, the fifth wing of the first | floor has been set aside in the new | building for the museum. The desig+ nated space, 11,750 square feet. was to be devoted “to an exposition of the purposes and results of the work {of the principal bureaus that come | | N COLLECTION j INTERIOR MUSEUM - - ) N “The scene catches a « | within the jurisdiction of the Departs + X | ment of Interior.” Throughout the | building small areas were designated { by the architect for the purpose of | special displays and exhibits required by the several agencies having need ‘ol such additional exhibit space not supplied by the main museum area. i | JT WAS determined that the collec+ tion should be different from the accepted definition of the term “mu- seum,” with its customary displays of general scientific nature and coumty fair array. It was determined that the museum should not be influenced by the classic in its interior decora« tion, nor go to the opposite extreme of ultra-modern, but should “strive for a pleasing, harmonious entity along conservative modern lines.” ‘The object of the Museum Commit- tee was to make of its displays a vital force for visual education and to pre- sent the story of the Department of Interior to the people of the country. This story was to be presented in such & way as to make available to the vis< itor the history and mechanisms of the different bureaus, and to make for an appreciation of the work accomp- lished by each. The establishment of such a mu- seum as thus contemplated assumed the proportions of a major undertak- ing in the museum fleld. With a small initial appropriation of $100,000—for both salaries and exhibits—and a lim« ited availability of skilled and trained museum technicians, work did not ac- tually begin until August of this year, L) '