Evening Star Newspaper, October 10, 1936, Page 19

v > 3 - i ErEer - THE EVE < “Quimper,” an etching by Samuel Chamberlain, on exhibi- < | there. initiated, artistically so successful that one ardently covets possession. Mr. Chamberlain for years has been a student of architecture. He has made a special study of brickwork, he | knows the materials of which build- | ings are reared, as well as the funda- | mentals of design. He has traveled | much and lived for years abroad, steeped in the beauty of the architec- tural monuments of the past in Spain, France, Italy and England. He is a consummate draftsman. But all this a man might possess and still be in- capable of rendering with an etching needle such masterpieces of art as are | the prints of Mr. Chamberlain now on | exhibition in the Arts Club. His line |is sufficiently firm, but very delicate |and sensitive. Not only does he re- | construct for us the great buildings of the past, but he gives them to us bathed in sunlight, ‘accented by shadow, enwrapt in an atmosphere all their own. Many of his compositions are most elaborate, but they are never con- | fused—detail, of which there is a great plenty, never so absorbs his attention that it subordinates effect. His light effects are peculiarly pleasing, triume phant, in such prints as “Salamanca Cathedral,” “The Sunlit Tower, Col- mar”; “Sienna.” But in other plates he has combined stark light with deep- est shadow in a way never to be for- gotten, as, for example, in “Dentelles Gothiques” and “Quimper,” also “Ver- neuil.” Some of his street scenes are espe~ cially notable, combining the ‘“passing show” with the immemorial buildings, endowed, it would seem, with end- less life and consequent indifference. His placement of figures, of carts and horses and street signs seems emi- nently appropriate, but in reality is immensely clever. Everything is in the right place and as it should be— but it must not be forgotten that the artist either knew this or put it Such things do not just hap- pen. And what is perhaps most astonish- ing is that, in this exhibition, Mr. Chamberlain shows himself as adept in etching landscape as architectural themes. “The Saplings,” No. 1 in the | By Leila Mechlin. such notable collections as €amuel Chamberlain with which to of the gallery, each and every one 3ion room and hall are a eonsiderable the best that have been produced. oadge of weakness, but Mr. Mul- orous, his works are structurally in them an element of loveliness what is art for if it is not to open 21l time? Merely to set down things artist, to fulfill his destiny, must have eeption of art and the artist seems | painted things near at hand—streets sn them and made it manifest. He what may be termed “uglification,” its effect on life, nor has he con- what pleased himself and what he competence he possessed and Wwith | ly, made a real contribution. subjects are well chosen, the com- yrendered, the result competently | works of art, measured by the great- neither boast nor evasion, they have a | kind we should be infinitely bet- tering the gallery is of Gloucester's in the foreground; there is an evi- architecture has a homely look, but or derision, but engenders loyalty an equal fancy for Winter in New bor or at the wharves, and he paints “Logging Camp in New Hampshire,” England,” “Late Winjer Afternoon” terpretation of light, a beautiful de- the boat pictures one of the most in- ghosts, wrapt in a veil of mist. But An interesting feature of this dis- in dimensions, and priced proportion- these little paintings, equally meri- tainly this puts them within the reach THE Chamberlain etchings, & delightful beyond words—technically catalogue, is a charming composition, | handled with great delicacy and a| sense of space. “The Country Road.” which one finds on an adjacent wall, is equally enchanting, and includes a very fine rendition of an elm tree with | “feathered” trunk. | But what can one say of his “Bur- gundy Hillside,” which embraces®a | castle set on a height surrounded by town buildings and with a vista which includes the lovely sloping hillside which the etcher has made his theme. ‘This is a print unique in composition as well as in skill of rendition. Most accomplished, too, is a& small print BRILLIAN NG STAR, WASHINGTON, D. C, SATUGRDAY, OCTOBER 10, 1936. Special Exhibition at Public Library Includes Some Striking Work by Kenneth Stubbs. Water Colors From Spain Bring Glimpses of Land Now Devastated by War. Showing by Landscape Club—Other Art News. “Logging Camp in New Hampshire,” an oil painting by Frederick J. Mulhaupt, on ezhibition at the Arts Club. entitled “The Battered Boat,” which concerns itself chiefly with the wall of a tenement with assortment of | windows, drying wash clothes, etc.| Such a subject has no inherent loveli- ness; in fact, it is essentially common- place, but it is so beautifully rendered that it attains to beauty and of a very tangible sort. This is what the mod- ernists do not seem to understand— that beauty may be created by the artist and with no sacrifice of strength nor loss of veracity—but that beauty n some form is essential to art—as essential as is the soul to man. There is an analogy between the graphic arts and music—a very strik- ing one—which helps toward appre- ciation. Colors are said to represent sound, but line also may make what may be called oral appeal. Certainly some of these etchings by Chamber- lain have the same esthetic quality that one finds in a violin obbligato or in the music of a string quartet—they literally sing—the ensemble is perfect. Perhaps this is mere fancy, but no one will deny that an understanding of one art leads to a better understand- ing of another, the key which admits to one kingdom will be found to fit| other locks. Both the Mulhaupt paintings and the Chamberlain etchings will be on view in the Arts Club until October 16. The club extends the privilege of its exhibitions to non-members, within reasonable limits. Kenneth Stubbs Ezxhibits in the Public Library. PAXNTINGS and drawings by Ken-| neth Stubbs constitute a special exhibition in the Public Library this month. Mr. Stubbs belongs to the younger group of local artists. He was | born in Georgia in 1907, studied at the Corcoran School of Art and under E. Ambrose Webster at Provincetown, Mass. He was awarded a first prize, | Antique Class, Corcoran School, in| 1927, and a first prize in the Portrait | Class three years later. He is now as- | sistant instructor in life and antique drawing. He is also a member of the Society of Wasbington Artists. Of his 25 exhibits at the Library, 3 are oil paintings, 18 are water colors and 4 are drawings. Apparently the artist has been strongly influenced by the dominant “isms” of the day, for they find definite and unmistakable reflection in his work. He is at times cubistic, at times abstract, and again occasionally merely crude and vague. In the matter of color, probably the most pleasing of his paintings is an oil of sunflowers in a vase, which shows a harmonious arrangement of blue and orange. His “Webster House,” No. 1 and No. 2, in the same medium are puszle pictures, which are inexplicable to the average visi- tor, but rather amusing as travesties on the abstract in art. Among the water colors are two with a distinct flavor of humor. These are “The Call to Arms” and “Suzannah and the Elders,” both of which are groups of casts as seen “after hours” in one of the Corcoran school rooms, and imbued with life. But for the most part Mr. Stubbs’ water colors and drawings are of rather dreary subjects, such as freight yards, telegraph poles—"Crosses,” “Provincetown Shacks” and a “Gully” —in which he himself seems to have discovered nothing of particular in- terest, or beauty, of light or form or composition. More striking than the rest is “Pigeons in Flight"—a picture pre- sumably painted in Lafayette Square —pigeons in a flock encircling the heads of persons on a bench, in which he gives an excellent sense of motion in flock formation. Mr. Stubbs fol- lows closely the modern mode that substitutes vagueness for precision, suggestion for assurance, which may eventually lead him and us into a completely new and very engaging field, but has not done so as yet. A Journey in Spain—Water Colors by Edith Hoyt. WITH attention focused upon the tragic happenings in Spain, the exhibition of water colors, made by Miss Edith Hoyt in that ill-fated country during the past year, which opened in the Corcoran Gallery of Art today, will be found especially timely. This collection, furthermore, comes here with the indorsement of < (Continued From Page B-1.) misunderstanding on the part of land- scape artists, or architects, or city planners, who now see all their origi- nal work being revised. Top soil is | being removed from the recreation | ground so it can be brought down to | proper level. | What pertains to the senior high | schools goes, too, for the junior high | schools—and for most of the ele- | mentary schools. In order to bring about & boom in school athletics, | where everybody will have a chlncel to enter some sort of competitive | this means more land. More land around the school houses means more money, and that is some- thing to take up at a later session of Congress—with the co-operation of the taxpayers. More supplies and equipment mean about the same thing, but the man who dreams this dream is a patient, kindly man, and he is not given to jumping hurdles before he comes to them. So, Mr. Bayh bides his time and figures out that all Washington will get behind the movement, once Washington understands what is going on. BIFDRI any of these two great ob- jectives can be taken the patient Mr. Bayh hopes to develop leader- ship—and this is already being done. Two kinds of leadership. Adult lead- ership, slready in vogue, and pupil leadership, on the way. Leadership is a mighty fine thing to have. Leadership is what they tion at the Arts Club. v HE Arts Club of Washington is fortunate in having two those of paintings by Freder- ick J. Mulhaupt and etchings by inaugurate the current season. Of the 21 paintings hung on the walls has intrinsic beauty, and among the 74 etchings displayed in the recep- snumber which attain to the high- est standard—works comparable to Painters and public in these later years have come to fear beauty as a haupt's canvases have strength as well as beauty, his brushwork is vig- strong. He has painted commonplace things and places, but he has found which gives them universal signifi- cance and lasting worth. After all, | our eyes to the beauty which sur- rounds us and preserve it to us for aeen, things factual, is the part of a| reporter rather than an artist. An vision as well as insight, must be a | prophet as well as a leader. This con- in danger of being lost. ! To be sure, Mr. Mulhaupt has| and wharves, snowclad hills and bare roadsides—but he has found beauty has not caricatured nature or man, Le has not concerned himself with he has not set forth the horrors of modern industrial development and cerned himself with the common man—he has, to the contrary, painted himself found pleasing, with a good | measure of enthusiasm, with all the | evident delight in the doing—and by 80 doing he has, perhaps unconscious- Why, some will ask, are these | paintings so pleasing? Because the positions good, the color charming, | the effects of light and shade well | achieved. What is more, ¢they ring | true. Perhaps they are not great est of the past, but they are essen- tially good and sincere, they make distinct and very welcome message— | and if there were more of the same ter off. ‘The first painting one sees on en- Main street in Winter. A sledge, drawn by a team of horses, is seen dent crispness in the air; the little turning street with its heterogeneous engaging. This is an “American scene,” which does not awaken scorn end admiration—at least, it is our own. Evidently Mr. Mulhaupt’ has England and for the boats of Glou=- cester as they lie either in the har- them both equally well. Of conspic- uous merit is his large canvas of & which centers the long east wall. But equally pleasing are “Old Mill, New and “February Morning, N. H,”. in each of which one finds a varied in- lineation of bare trees and an effec- tive use of foreground shadow. Among teresting is “Fog-Bound Harbor,” in which the fishing schooners are as each canvas has its individual in- terest and charm. play is a group of small paintings, in oil, but approximately 10 by 12 inches ately low. Mr. Mulhaupt’s large can- vases sell for as much as $1,200, but torious and most suitable for a home, can be had for as little as $75. Cer- of many. Rare Etchings by Chamberlain. print collector will find it difficult to spesk with moderation. They are 80 brilliant that they dumbfound the 2. want and need in the Washington school mum—w the kind of i game, there must be facilities—and ey leadership that springs from the ranks of boys and girls. A good thing to have in school, it leads to attainment in the outside world. To get this leadership the entire student body will be called upon, as| time goes on, to take an active interest in health and physical training. In order to do that, physical ex- aminations are in order, so that no boy or girl may take part in athletics to the detriment of health. First, they must stand a physical test—to see just where they line up in the athletic program. Next they must have written permission from parents guardians before engaging In athletics. Boys and girls with good stout hearts and heavy lungs will get clean bills of health—so that they may enter the more rugged sports arena. Boys and girls who are not endowed by nature with rugged physical stam- ina must, perforce, take to the gentler forms of sport, leaving aside foot ball and base ball and track for such games as tennis and bowling and minor activities—hand ball, squash, table tennis; though these, too, take certain amount of steam out of the average human, if played strenuously. Wrm everybody in the games, the whole school system participating in some sort of health-building ex- ercises, the man who is now in charge of this work sees where the inter-school athletics. will be greatly improved. This for the reason’ that, by a process of selection, good athletes will naturally come to the top. And that is as it should be. That is where the crack teams of the future will coms from—the ranks. In cultivating the ranks Mr. Bayh hopes to do some- thing for “the forgotten youngsters.” Since there are no great facilities at hand for the training of such huge numbers now emrolled in the Wash- ington school system, temporary means must be adopted to attain an ideal. There are not, for instance, enough foot ball fields to go around. So the new form of foot ball will go into play. This is called “touch foot ball.” Players touch each other instead of tackling. They are taught the funda- mental points of the game—punting, passing, carrying the ball. All for their general education in the sport. All to give them sport skill. Almost everybody is able to play “touch foot ball,” where only a few may play the actual rough and tumble game—and those who play touch foot ball run no danger whatsoever of getting hurt. Under this plan, emphasis will not be placed on the development of var- sity timber for foot ball teams s0 much as getting all hands interested in the sport. Out of that grand tribe, run- ning, kicking and passing the old globule; will come some féw destined to get out on the actual field and die, if needs be, for their dear old alma mater. That business of dying for dear old alma mater, incidentally, is a relic of the old, barbaric days—and those days, in the words of a prophet, are gone forever. At least they will be gone if the new plan of health and physical education comes to the fore- front in Washington schools—elemen- tary and high, system ls really just getting its start. It comes highly recomended. With the whols school system a8 its ) both Prench and Spanish circles, having been shown in the Galerie Ecalle, Paris, under the patronage of the Spanish Ambassador and Mme. de Cardenas and M. Huisman, direc- tor general des Beaux Arts of France. Late this Summer a portion of the collectioh was shown at Pointe-au- Pic, Canada, with Lady FitzPatrick, Lady Gouin, Mrs. Willlam Howard Taft and Mrs. Gray as sponsors. ‘They compose what might be termed a pictorial travelogue, re- cording places visited and things seen, as the artist journeyed across Spain, leisurely gaining acquainte ance with its little towns, set in the lap of the hills, and their picturesque surrounding country, little dreaming that before many months would pass they would be racked by revolution and warfare. The style that Miss Hoyt has em- ployed for these paintings is not that which she has previously used. Her color is put on in thin, broad washes, and delicately. She rarely shows strong dulges in heavy tones. But she seems to have caught the atmosphere of place and to have transcribed that which was most characteristic. Espe- cially engaging are “A Wayside Cross, Lerez, Galacia,” and “A Street of Ronda, Andalusia.” With the Span- ish views, Miss Hoyt also is showing a few painted in France, and also some Canadian, These lend interesting variety. Miss Royt 1s a membver of both the Society of Washington Artists and the Washington Water Color Club. Born at West Point, the daughter of |an Army officer and of distinguished family, she studied first at the Cor- coran School of Art and then under Henry B. Snell and Charles H. Woodbury. She has traveled much | Canadian Railways commissioned her | one Summer to paint views along itheir right-of-way and acquired for their Montreal office her paintings entitled “Old Houses at Baie St. | Paul” and “Manoir Richelieu, Murray Bay.” Her painting of “A Seventeenth Century Manor House” was acquired by the Society of Historic Monu- demarkation of light and shade or in- | and is an accomplished linguist. The | ments and hangs in their museum in | | Quebec; the Art Association, Little | Rock, Ark., has her “Gaspe Coast.” ‘This exhibition is set forth in the southeast corner gallery on the first floor of the Corcoran Gallery of Art. It will continue throughout the month and will be followed by a more com= prehensive display in the Feragil Gal- |eries, New York. The Landscape Club Makes Colorful Showing. THE Landscape Club of Washington makes a bright and colorful show- ing in its first exhibition of the sea- son, which opened in the Mount | Pleasant branch of the Public Library | this week, to continue until Novem- | ber 16. The first impression upon entering | this little gallery is of light and color. | Inasmuch as many of the exhibits | |are mid-Summer paintings, when | greens and blues predominate, this | !is the more remarkable. To a painting by Omar H. Carring- | ton the place of honor opposite the | entrance has been given. This is a |large canvas and a very decorative | |one. It is painted in rather a high |key .and in an unusual manner— | enough is told and yet much is left to the imagination. Mr. Carrington, |1t will be remembered, spent two | months last Summer at Oyster Bay, painting, and in residence at the Tif- fany Foundation. On either side of this hang two Summer pictures by Garnet Jex, freshly painted, strong in color, very picturesque. R. Bruce Horsfall, president of the | | Landscape Club, is represented by several small canvases—chiefly o(“ mountainous landscapes—very sensi- tively realized and rendered. From Minor S. Jameson has come | an excellent Winter picture—a bit of woodland mantled by snow through | which a small stream finds a winding way. This is primarily a study in browns and grays, but the tones are especially well adjusted and the draw- ing is fine. Other Winter pictures of | note come from James Hambleton | and Benson B. Moore. Not all the pictures in this exhibi- tion are new—several have been seen B3 INTRINSIC BEAUTY IS SHOWN IN OPENING ART DISPLAYS T PAINTINGS AND ETCHINGS “Dentelles Gothiques,” by Samuel Chamberlain, on exhibi- tion at the Arts Club. in previous exhibitions—but that by no means lessens their merit. Row- land Lyon, for instance, is represented by the still-life painting for which he received a prize in a recent Society of ‘Washington Artists’ exhibition, as well as by a painting of a long, nar- row wharf projecting into the water, as seen from a high view. Both of these are gooq in color and very direct in treatment. ‘There is an interesting contrast be- tween the style of most of these paint- ers and that of their fellow member and exhibitor, Roy Clark. Whereas the majority are naturalistic and tra- ditional, Mr. Clark is modern and au- tographic, using forms in a measure as symbols, simplifying, co-ordinating. ‘The effect he attains in the two land- scapes by which he is represented in this exhibition is very impressive—it savors not a little of the universal, of fundamentals; the painter'’s mes- sage is rendered directly and as in the poster at a single blow—but un- like the poster, there is underlying significance, There are just three water colors in this collection—one of these is by Mr. Clark, another is by a comparatively new member, A. Wilson. Mr. Wilson has made an especial study of the works of water colorists of the old English school, the tradition of which he follows closely. Mr. Clark paints in water color without subtlety and with bold decision—so again the con- trast is marked. Among others well represented in this_exhibition are John C. Claghorn, | John U. Perkins, A. J. Ted Meurer, J. H. Turner, L. O. Norris, W. B. Dye | and Robert Motley. A. H. O. Rolle, a former president, makes interesting contribution through the medium of | a nocturne, a group of houses and | boats seen by moonlight. Washington Artists Exhibit in Virginia. N EXHIBITION of paintings by; a large group of Washington | artists was held at the Mary Baldwin | Seminary—now a junior college—in Staunton, Va., this past week. Among the landscape painters represented were Mr. Jameson, Dr. Motley, Mr. Rolle, Mr. Butler and Mr. Moore, and among the woman pointers, the list of whom is longer, were Mrs. Chase, Mrs. Leisenring, Mrs. Kimberly, Mrs. Abbot, Gertrude Brown. Emily Sieuart, Eloise Clark, Dorothy Barnes, Cathe- rine C. Critcher, Marguerite Munn, Margarete Lent, Helen Coilison, Gladys Nelson Smith, Nell Patterson, Lucia Hollerith, Cornelia Yudisky and Clara R. Saunders, by whom the group was organized and on very short no- tice. It is reported to be a well bal- anced and very creditable showing— demonstrating very tangibly the re- sources of local studios. Government Art Is Shown in New York. THE art sponsored by the present | administration and produced under governmental supervision has been much to the front in New York broad base, the purpose is to enlist every healthy boy and girl in the army of athletes. This will be done by creating interest in all sports—not just a few sports. There are sports and sports. Some sports are dropped im- mediately after the pupils graduate— except in rare instances. Only a few “Red” Granges come out of the high schools. Only a few, comparatively, ;:]m the ranks of professional base 1. Since there are sports known as “carry over” sports, and ‘“carry on” sports—those that can be taken out into after-life—these will be featured, along with'foot ball and base ball and track. The “carry over” sports give®more joy to graduates than any other—even | if the graduates take only to pool and billiards in after-life—or tennis, shuf- fle board, bowling. They are sports none the less. All sports considered, instead of Ji & few, the Washington schools shout to become sports-conscious— under the new set-up. If the plan works out, as all who study it believe will happen, intramural athletics may soon be on the boom market. Intra- mural, or the walls, athletics are where fun flies. It is Mr. Bayh's hope and ambition to have the boys and girls organize leagues —big league and little leagues—to en- gage in competitive games. There are already such leagues, of course, but the object is to get more of them— mightier leagues—so that the Giants can play the Athletics, Reds vs. Blues, the Greens pitted against the Ermine. OUT of « these super-intramural feams will naturally come first-class varsity groups—the just are Tx ALL WASHINGTON STUDENTS TO BE MADE SPORT CONSCIOUS lads and lassies who can get sut on the playing field and bring honor to their alma mater. These are what | will be known as “the cream of the | crop”—and to be the cream of the crop they’ll have to be good; perhaps better than the average star athletes | of today, since competition will un-| | doubtedly be keener. That is part of the idea, the full plan being to use this educational pro- gram in physical well-being to give & new standard of health and morale. It means, to be perfectly blunt about it, the building of good citizenship— for in the plan to enlist all boys and girls in competitive sport there is the latent idea of making them good sportsmen and sportswomen — good losers and good-natured winners. In any well-worked-out plan of sec- ondary education there are said to be certain objectives known as the seven cardinal principles. ‘These are: Health, command of the fundamental processes, worihy home membership, vocation, citizenship, worthy use of leisure and character. Now the advocates of health and physical training, or physical educa- tion, point with pride to the fact that the program now being set up in the ‘Washington schools will take good care of three out of the seven cardinal inciples. m’l"‘hgw:l"'lnmflnh. among the card- inal principles, directly effected by & good program of health and physical education are health itself, citizenship, and worthy use of leisure. It stands to reason that boys and girls engaged in good, wholesome sports will -be, by the very nature of their | | | to take their losses without griping, to win with a certain amount of equi- nimity, they are training to be good citizens. And when they learn $o make the | proper use of their leisure they are mounting the scales to success. So say all the. experls, and Mr. Birch E. Bayh agrees with them; for | he, too, !s an expert in this line. He had something like 18 years’' experi- ence in the graded schools and high | schoois of Terre Haute—and the| Teachers’ College there, too—in map- ping out just such a course as Wash- ington hopes to work out. THE new system places circles around various sports and de- crees they can be played and prac- ticed only in season. For instance, the foot ball season begins at the dawn of the scholastic year—in September—and runs to Thanksgiving day. Boys who play feot ball will have no Spring practice. ‘This year they were permitted to prac- tice from September 1 to September 21, the opening school date; but next year the new rule will be obeyed rigidly. Basket ball may be played from De- cember 1 to March 1, inclusive. Then will come outdoor track and base ball—to run from April 1 te June 10. There is method in this. Mr. Bayh, as an athletic director or health in- structor, claims that adolescent boys and girls should not overtax them- selves; that they should noi spend too many hours of the day practicing and playing their favorite sport— of late. On September 16 and con- tinuing until October 12, the Federal art project operating under the Works Progress Administration rendered a visual report covering a year's activity by way of an exhibition set forth in the Museum of Modern Art under the title “New Horizons in American Art.” On October 6 the painting and sculp- ture section of the Procurement Di- vision of the Treasury Department practically took over, by invitation, the Whitney Museum of American Art and set forth therein a compre- hensive display of work—chiefly mural paintings and sculpture, commissioned for the decoration of Federal build- ings. The latter differs from the for- mer, inasmuch as it is only in small part a relief measure, while the former is almost entirely so. Also the latter is more restricted, the former con- cerning itself with educational means, the purveying of art to the public, freely to be sure, as well as its pro- duction. Both are alike, however, in 50 far as the works procured are all purposed for permanent placement in public buildings frequented by the people. The exhibition now closing in the Museum of Modern Art comprised | some 400 exhibits, selected “for ar- | tistic merit” from among thousands available, the limitation being, it was said, of space rather than worth. While more extensive, the character of this exhibition was similar to that held in the Phillips Memorial Gal- lery in this city last June. A cata- logue iliustrated by reproductions of about 100 of the exhibits and con- taining an introduction by Holger Cahill, director of the project, setting forth the social significance of this work. and a foreword by Alfred Barr, director of the museum, in apprecia=- tion, was published. In connection with the exhibition in the Whitney Museum the Government is issuing a book—the first volume of the “Art in Federal Buildings” series come piled and edited here by Forbes Wat- son. This publication will, according to announcement, contain reproduc- tions of sketches by every artist on the projects whose works were ap- | proved between October, 1934, and | July 1, 1936. The exhibition, which | has but just opened in the Whitney Museum, is to be brought to Wash- ington and shown in the Corcoran Gallery of Art during the latter half | of November. Bulletin of Exhibitions CORCORAN GALLERY OF ART —Permanent collection of American paintings and bronzes; the Clark collection of European art: Barye bronzes, prints and drawings; exhibition of water colors of Spain by Edith Hoyt and of drawings by Nicolai Cikovsky. NATIONAL GALLERY OF ART, UNITED STATES NATIONAL MUSEUM — Permanent collec- tions, FEvans, Gellatly, Ralph Cross Johnson, Harriet Lane Johnson and Herbert Ward Af- rican sculptures. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS — Etchings, dry points, aquatints, etc., by contemporary Amcrican print makers, re- cently given by the Chicago Etchers’ Society. FREER GALLERY OF ART— Permanent collections Whistler paintings, etchings, drawings and the Peacock Room; Orien- tal paintings, bronzes, pottery, miniatures, etc. STUDIO HKOUSE — Special ex- hibition of reproductions in color of paintings by oid mas- ters and modern artists. TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA— Permanent collection rugs, tap- estries and other textiles of the Near and Far East. Open Mon- days and Wednesdays and Fri- days, 2 to 5 pm. Admission by card obtainable at office of George Hewitt Myers, 730 Fif- teenth street. THE ARTS CLUB OF WASH- INGTON—Exhibition of paint- ings by Frederick J. Mulhaupt and of etchings by Samuel Chamberlain. LIBRARY OF CONGRESS, DI- VISION OF FINE ARTS—Ex- hibition of recent accessions; Pennell lithographs; drawings by American illustrators. PUBLIC LIBRARY, DISTRICT OF COLUMBIA—Main build- ing, exhibition of water colors by Kenneth Stubbs; Mount Pleasant branch, exhibition of paintings by members of the Landscape Club. ART GALLERY, HOWARD UNI- VERSITY—Exhibition of lith- ographs by Rockwell Kent, lent sometimes to the detriment of their bealth. in moderstion. 1 by the College Art Society.