Evening Star Newspaper, October 31, 1936, Page 19

—_— Unusua THE ‘Women’s City Club, Jackson oil and water color by 18 local walls of the reception room, drawing with the furnishings rather than ap- especially pleasing. As one enters By Leila Mechlin. place, opens the season Wwith an exhibition of paintings in artists, who contribute collectively 29 works in all. These are hung on the room and dining room, opening one out of the other, and as usual accord pearing as it were “on parade.” ‘The introduction to this showing is the reception room from the front hall the eye is caught by the freshness of color of the paintings on the walls | and held by their charm. Here hangs a figure painting in oils by Catharine C. Critcher, to be reckoned with her best—a powerful presentation of an Indian woman with one child on her back, peeping over her shoulder, and another by her side. The woman's dark eyes peer at the observer from under her straight black hair, banged across her forehead. The child she carries on her shoulders has also an intent, wondering gaze. The dark shawl of the woman makes interesting contrast with the warm reddish color of the dresses of both mother and child. It is an excellent composition and attractive color scheme; the fig- ures are well modeled, and the manner of rendering is both assured and direct. Here is a painting in the modern style, which takes its place in the great tradition. Quite opposite in style, but no less notable as a work of art, is a Spring landscape by Minor Jameson, which has been given placement on an ad- Joining wall. This, too, is directly painted but with utmost subtlety, The color scheme is high keyed, the illusions of light and air are well interpreted. Not only does this paint- ing stir one as would the scene itself— but more, much more—because it con- veys the artist’s own impression—and this is art. Drawing and paintings sre means to an end, very important means, to be sure, but if the artist has neither vision nor message they are as dry and useless as dust. Mr. Jameson has had something to say in | this instance and has said it beauti- Lully. So also has Robert E. Motley in his landscape, utterly different in type, which hangs to the right. This paint- ing shows a bit of hill country, plowed fields covering the rolling middle ground like a patchwork quilt spread down to keep it warm. Dark hills be- yond mark the high horizon and in- close the composition. Here again we have simplification of design, strength in color and directness in rendering. In the drawing room are to be espe- cially noted for fine quality a portrait study by Mathilde M. Leisenring, a still life “Calla Lilies,” by Catherine P. Melton, and a picture of a boat on a sandy beach, by A. H. O. Rolle, all oils, besides several well-painted and impressive water colors by Magaretta Lent and Gertrude Brown. Variety is given this showing by an interior and two little outdoor studies of people in Summer dress lunching on sunny terraces, by Cara D. Kim- berly, an interior by Netta Craig Turkenton and a couple of figure studies by John Butler, This exhibition was selected from @ still larger show, set forth recently &t the Mary Baldwin College in Staun- ton, Va. It will probably continue through the month of November. Rittase and Davies At the Arts Club. THE Rittase and Davies exhibitions at the Arts Club have attracted unusual attention and, happily, have &till another week to run. Mr. Rit- tase’s paintings fill the little gallery with color and life and give striking \ freshing. Apparently whatever has caught his eye has served as “grist | for the mill,” whether it be land- scape or house tops, a church or a circus—and in each instance the tran- scription has been made with evident and almost equal enthusiasm. We have heard so much of late of “the‘ | American scene” that we have come to regard it as generic, but the fact is that such are countless and of many, many kinds which defy classifi- cation. It is a matter of choice rather than definition. Mr. Rittase shows us with equal zest a “Misty Valley,” seen through a cartwheel; Bruton Parish church framed in Au- | tumn faliage, a residence, small-town | or suburban, of “The Victorian Vin- | tage”; the window of a “Colonial Apothecary Shop,” seen from within and looking out; also ‘*wailroad Yard” at night; a river steamboat at | & “Dixie Picnic” whart discharg- |ing its pleasure-seeking passengers, and a merry-go-round at an “Amuse=- ’ment Park” ground—to say nothing |of a group of landscape impressions |and a picture of “The Watermelon | Fleet,” a unique subject. These are all American scenes, but | one may venture the belief that the | | artist chose them for presentation | not for this reason but because he found them npictorially alluring—in art parlance, “paintable”—and he has painted them without the least tinge | of self - consciousness, Particularly | colorful and engagingly gay is “The | Amusement Park,” the grotesque fig- | ures of the strangely assorted animals serving as mounts for riders in the | merry-go-round, apparently panting |to be off and away. But also very knowing and engaging is the canvas | showing the artist's “Neighbors* | | Roofs” in Winter, drab and gray. | | After all, why should art of so many sorts ever be labeled and classified— | while, with the work and the consent THE EVENING STAR, WASHINGTON, D. C, SATURDAY, OCTOBER 31, 1936. < vision by an expert printer, but when the edition mounts to the thousands, the printing goes into the hands of strangers and cannot be done with such great care. To the average per- son, the difference, however, will scarcely be discernible—to the con- noisseur it means very much. Quan- titative production may be in itself beneficent, though always fraught with danger to qualitative values. But there is distinctly something to be said on both sides. Strangely enough, Joseph Pennell, who was essentially an aristocrat in his attitude toward art, and insistent upon an ideal of perfection, was heartily in favor of large editions and low prices. In fact, he left his entire estate to the Library of Congress to found a Chalcography Museum, which would build up a col- lection of plates by distinguished artists, from which, after their death, would be re-issued prints in large edi- tions at prices within the purchasing power of the average citizen. Ob- viously, these would be without the usual penciled signature of the artist which usually accompanies those of the limited edition—but the prints themselves will be of equal merit. As the Pennell estate is not yet settled, no steps have been taken so far to put these provisions into effect, Mean- of some living American print-makers, the “American Artists’ Group” |is making the experiment, The Prints on View. "J’O TURN to the prints themselves,| A work of art is not a mere repre- | dow,” is a print to tempt the con- now on exhibition and sale. One finds that for the most part they are by artists of the “new school,” but not invariably so. Technically they are excellent; subjectively quite a number are repellent. Those who are inter- ested in technique may find pleasure Queer Fish,” a painting by Mabel Dwight, on exhibition at the Studio House. “And Now Where,” by Rockwell Kent, on ezhibition at the Studio House. and they used it with supreme purpose. sentation of things seen—the camera | serves that purpose—but a creanon—i something spiritual as well as mate- | rial, and for this reason indefinitely retains interest and charm. An etch-| ing by Rembrandt, even from a worn plate, tells something of him and has | why should limits and boundaries be | defined and restricted? | Yachts and Full- | | Rigged Ships. | | NJO ONE who loves a boat could fail to find interest and pleasure in in any subject well rendered, but !he’ majority of persons who covet the pos- session of a print are attracted by subject rather than by technical skill. Undoubtedly the artists of today are interested in the life which is around them, but surely life is not on the indication not only on gift but alert- |the photographs by Cecil Davies of Whole guite so sordid and unlovely as | mindedness on the part of the painter. | London which now fill the walls of many of them present it. Of course, | They are very entertaining and re- 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. NATIONAL GALLERY OF ART, UNITED STATES NATIONAL MUSEUM—Permanent collec- tions, Evans, Gellatly, Ralph Cross Johnson, Harriet Lane Johnson and Herbert Ward Af- rican sculptures. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS—Color Etchings by Ga- brielle de V. Clements, Ellen Day Hale, Margaret V. Hoyt and Lesley Jackson. FREER GALLERY OF ART— Permanent collections Whistler paintings, etchings, drawings and the Peacock Room; Ori- ental paintings, bronzes, pot- tery, miniatures, etc. STUDIO HOUSE—Exhibition of prints by the American Artists’ Group; etchings, woodblocks and lithographs. ART GALLERY, HOWARD UNI- VERSITY—Exhibition of fac- simile reproductions of paint- ings by contemporary artists. PHILLIPS MEMORIAL GAL- LERY—Paintings by old and modern masters; oils and water colors and a few works in sculpture. 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 Roger N. Rittase of ‘Washington and pictorial pho- tographs by Cecil Davies of England. LIBRARY OF CONGRESS, DI- VISION OF FINE ARTS—Ex- hibition of receht accessions; Pennell lithographs; drawings by American illustrators. Ex- hibition of original illustrations by Walter Appleton Clark—re- cent accessions. 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. the reception room at the Arts Club. Here are pictures of internationally | famous yachts under full sail, like | great, white birds skimming over the | surface of the sea. Pictorial photog- | raphy must, of course, have a basis of | fact, but it must depend for effect shade, and the photo-pictorialist must | know when and how instantly to seize | opportunity. It is because Mr. Davies evidently has both this knowledge and skill that his work attains artistic eminence, Although Mr, Davies has specialized in pictures of sailing craft, he shows himself no less the artist in his interpretation of landscape, “On the Road to Houghton,” of an interior, | “St. John’s, Valetta” and of figures in groups as “In the Monastery Cloi- sters.” Original Prints for a Song at Studio House. | T STUDIO HOUSE, 1614 Twenty- first street, there opened this week, to continue until November 7, an exhibition of prints by well-known print-makers which are offered for sale at the remarkably low price of $2.75 each. This repreesnts a second step of the “American Artists’ Group” to make art democratic and to bring it within the reach, and hence within | the home, of those of very moderate means. A first step to this end was taken last year, when this organization is- sued as Christmas cards reproductions of etchings and other prints by forty or fifty artists of note. These cards proved so popular that new editions are being placed on the market this season. But after all, Christmas cards come and go—few are destined for long life—and the tie-up with art educationally, esthetically, is, to say the least, slender. But now comes this second and more daring venture— the issuance of original prints in edi- tions sufficiently large to permit sale at nominal prices. If the public re- sponds, it should prove lucrative and feasible. Contemporary etchers, wood-block print-makers, and lithographers cus- tomarily limit their editions to ap- proximately one hundred prints, after the printing of which the plate, or block, or impression on stone, is de- | stroyed. This is. partly in order to! insure the merit of each print and partly to sustain values. Dry points cannot be printed in large editions without showing wear, but etchings, well bitten by acid, will yield many more prints than, as a rule, are pulled, and if a plate is steel-faced, the edi- tion may run into the thousands. On the other hand, when an etcher, block print-maker, or lithographer, prints & small edition, he as a rule does it himself, or it is done under the super- 4 i upon skillful handling of light and | — we know that Rembrandt depicted homeliness, that Daumier showed up the weakness of his own generation, that Goya was not invariably elegant— but these were great masters and nothing that they did was trivial, shal- low, sordid. They respected their art' the power to thrill. Many of the mod- | ern prints are not only offensive in | their ugliness, but tell nothing, conse- | quently they leave one cold and dis-| pirited. If the people are really to be| brought up to art, it must be through | art not only of good quality, but real | significance—enduring interest. Some of the prints issued by the | “American Artists’ Group” and now on view at Studio House are of this sort. | Take, for ‘example, figures of a man | and a woman entitled “And Now ‘Where?” by Rockwell Kent, which has | great dignity and more than a touch of the universal and elemental. Grant Renard's eiching, “Art Dealer's WIn-l noisseur, as is also “Queer Fish,” by Mabel Dwight. Many of the prints shown are litho- graphs and witness to the revival of interest in and use of this medium. Nicolai Cikowsky, who is exhibiting at the Corcoran Gallery of Art—and whose exhibition, by the way, has been extended to November 2—is here rep- resented by a lithograph entitled “Chess,” while George Biddle, who lately completed his much-discussed murals in the Justice Department | Building, shows here his lithograph, | done in Charleston, of “Cat Fish Row.” | There are interesting wood engravings | by Lankes and Ruzicka, both of whom | have won distinction in this particular | fleld. Agnes Tait and Wanda Gag both show cats in windows, the latter | very modernistically. There are foot ball scenes and cottage interiors—the gamut is run with emphasis on the positive and obvious and with com- paratively little realization of beauty | or imaginative appeal. But one can | pick and choose, and it is the picking | and choosing and later testing out, and if necessary discarding and replacing, | that give zest to the print-collecting | game. Never was the public offered so good an opportunity to try its luck at | so little cost as in the present in- | stance. | On Monday evening, November 2, Prentiss Taylor, lithographer, instruc- tor at Studio House, and represented | in the American Artists’ Group, "I]l: give a lecture in Studio House on “Lithography,” using lithographs on | exhibition as illustrations. National Gallery Lends to New Art Museum. SIXTEEN paintings lent by the Na- tional Gallery of Art are included in the inaugural exhibition of the new Museum of Art, which opened in Charlotte, N. C.,, on the evening of October 22. This museum, the first, in | the State of North Carolina to be erected, and dedicated to art, was the old Government Mint, built for such purposes in 1837 and continuously used for minting gold coin until the outbreak of the Civil War, during | which it was converted into a hospital. In 1837, gold was discovered in North | Carolina. In the following 25 years or less, $5,000,000 in gold coins were minted in Charlotte. But in 1932, the Federal Government decided to de- molish the old Mint Building to make room for an addition to the Post Office. As the building was architec- turally good, and in design suitable for such use, a movement was started to buy it as it stood and remove it to another site as an art museum. | | Administration RT SEASON DEVELOPS WITH AMBITIOUS WORK SHOWN WOMEN'S CITY CLUB EXHIBIT [ Attention Attracted by Two Showings of Much Merit at the Arts Club — Yachts and Full-Rigged Ships Are Conspicuous as Subjects. B3 “Amusement Park,” a painting by Rittase, on erhibition at the Arts Club of Washington. | Ground was given in Eastover, a sub-1 and the Early Republic, native crafts | presidents, and Clarence A. Aspinwall, urban development, and the material was moved. The following year appli- cation was made to the Civic Works and approval was given to the rebuilding as a relief | project. ‘Through this medium, the | of North Carolina and work by mem. bers of the local Camera Club. Among the works lent by the National Gallery of Art are “Sundown,” by George In- ness; “The Visit of Nicodemus to Christ,” by John La Farge; “Gentle- treasurer. | An Ezpert Restoration. N EXTREMELY expert piece of | restoration has been made to one new museum of art has come into ex- | woman,” by J. Alen Weir; “Portrait| of the very valuable tapestries ace istence—a permanent benefit to city of Walter Shirlaw,” by Duveneck. and | quired by the Corcoran Gallery of Art | and State. It is a charming little art museum, and beautifully placed. O: the first floor there are a foyer, eight | small galleries and one large one. In| the basement there are, in addition | Dines Carlsen, Cecelia Beaux, Seyffert, Psyche.” to janitor's quarters, storage rooms, other canvases equally famous. From Isewhere have come distinguished anvases by Abbott H. Thayer, Mary Cassatt, Childe Hassam, Emil and Schofield, Benson and others. The A figure painting in oils by Catharine Critcher, on exhibition at the Women’s City Club. etc, a series of rooms with walls o native stone and vaulted ceilings suit- able for studio use or exhibition pur- | poses. ‘The inaugural exhibition puts spe- cial emphasis on American painting, but includes also some Old World works, American sculpture, prints by American and English print-makers, etchings, lithographs, etc., Japanese prints, furniture of the Colonial period Beauty and Perfect Light Give Rays fo; High Court By Louis Selding. | ROM a velvet-cushioned bench in the Supreme Court chamber, | that softly-diffused light re- Aected from a rich and beauti- ul ceiling is achieved so perfectly hat one is only conscious of its satisfying quality and charming effect. That those colors were mixed by a famous mural artist, | that 1alse ceilings were placed, paint- ed and removed, and that all the artistry and ingenuity of which archi- tectural and artistic talent are capable | went into the final decoration of the | ceiling, are the facts behind the scenes. ! To complicate matters, the artist was| restricted by a very real practical problem—that of producing a reflected | | light strong enough to make it pos- sible for the justices to read com- fortably 40 feet below the chandeliers, without glare or illumination strong enough to interfere with the artistic or luxurious atmosphere of the cham- | ber. This task was assigned to Ezra Au- | Bustus Winter, famous mural Arn.shi of Michigan and New York. Mr. Win- i | ter had recently completed the design |and decoration of the ceiling in the | library of the Supreme Court Build- |ing, and his work was so outstanding [in this instance that the practical problem confronting David Lynn, architect of the Capitol, in lighting the Supreme Court chamber was in- trusted to his hands and skill. A high candlepower was necessary adequately to light the justices’ desks. This meant that colors pale enough to reflect that amount of light must be used in the ceiling, while enough depth of coloring had to be retained to achieve a luxuricus effect in the ceiling decorations. by ] | | | R. WINTER set to work. False ceilings were built and hoisted by scaffolding into position. Once placed, these were painted various colors. One set of colors was found to reflect adequately, but its use de- tracted from the richuess of the ceil- ing and chamber, Something deeper had to be achieved. Tones too deep for reflecting purposes were discarded, ’ ; 'Achievement by Mural Artist Brings Com- bination of Adequate Reflection From Elevated Point and Luxurious Ceiling Effect in Color. despite their rich effect upon the room | from a decorative standpoint. At length, use of the false ceiling gave way to another plan, conceived by Mr. Winter. Certain areas of the ceiling were painted in accordance with well-laid color schemes and their effects noted. In this way various areas could be painted differently and lighting effects as well as artistic effects compared under the glow of 1,500 to 750 watt light bulbs in the 16 chandeliers suspended from the chamber ceiling. The ceiling itself is about 40 feet high. At length, the present color scheme was found to be completely satisfactory from a practical as well as an artistic viewpoint. Any one who has entered the chamber, since sessions were re- sumed recently, cannot be other than impressed with the beauty and ef- fectiveness of Mr. Winter's work. THE ceiling design is made up of a series of blocks that contain a central floral motif. That is, there are 25 squares that cover the ceiling and each of these squares is divided into four smaller squares. In the cen- ter of each of these four smaller squares is an open blossom, conven- tional in form and each differing slightly from the others in the details of petal arrangment or the flower's center. The large block made up of these four small squares is outlined in a band of pale lemon color, the color of the blossoms themselves, while the background throwing the blossoms into relief is painted a soft grayish blue. At the corners of these large blocks are small squares containing a cen- tral design painted in a rich terra cotta. . It is these terra cotta medal- lions, incidentally, that are the secret of the richness of the ceiling’s effect, + adding the depth of color necessary, | and used, ingeniously enough, where no reflecting power is necessary—an office performed by the lighter gray- blue background. From the center of the terra cotta medallions hang the chandeliers, and there are 16 of these lights in the for- ward part of the chamber. No lights hang from the terra cotta medallions at the rear of the chamber. It is interesting that the first row of lights contains bulbs of 1500 watts, and this is graduated until the last row contains bulbs of 750 watts, so that the greatest illumination falls above the desks of the justices and, the chamber is not too strongly lighted in other parts. The entire ceiling is outlined by & narrow border of 20 panels, 5 to each wall, painted in a paler tint of terra cotta than the medallions, and decorated with a palm leaf motif. ‘ROM the library of his Summer home in Falls Village, Conn., Mr. Winter said a few weeks ago, “You have to stay on the floor to paint a ceiling.” By that he meant, of course, that the effect of various color combinations must be observed from the floor. At present, Mr. Winter is working upon mural decorations for an audi- torium in Rochester. We climbed stepping stones by flashlight later to see these murals in his studio at the top of a very high hill behind his house. They were impressive enough—some more than 20 feet high. Very high scaffoldings stood against the walls of the studio. The appearance of the gigantic figure of Lord Rochester receiving a grant of land from an Indian 20 feet high was overwhelming. The walls of the studio were lined with similar murals « 'Pmmps one of the best known | —one of George Washington taking | his oath of office that had been painted as a temporary decoration by Mr. Winter for use in Washington during the Washington Centennial. From paintings on this scale we examined ceiling designs so minutely drawn and exquisitely colored that | they were no larger than four postage stamps would be, placed together. Something of Mr. Winter's artistic skill and precision may be gained by | comparison of his wall murals and | his design work, as fine and perfect as engraving. of Mr. Winter's murals is that which adorns the first landing of the winding staircase in Radio City Music Hall in New York City. The mural, entirely visible from the foyer of the theater, represents an old man on a hillside. with his youth passing in re- view before him, almost as if in a vaporous cloud of memory. Other famous murals of Mr. Winter are in the Cotton Exchange in New York City, where he has four panels de- picting the cotton ports of the world. In the Bank of Manhattan, in Wall Street, New York City, six paintings by Ezra Winter decorate the walls. These are scenes of old New York, and they are 40 feet high. Well| knhown, too, are the panels done by ! Mr. Winter for the Cunard Building. Other work of this artist can be seen in the Eastman Theater in Rochester, the Willard Straight Memo- rial at Cornell University, the Bir- mingham, Ala, Public Library; the Rochester, N. Y., Savings Bank, and in many private residences throughout the country. Mr. Winter studied art in Chicago, and received, at an early age, the American Academy Scholarship, en- titling him to four years’ study in Rome. He lived for five years in Europe, working in France, Germany and Italy during that time. During the World War he did important work for- the United States Government, designing camouflage for the Ship- ping Board. His work in the Supreme Court Building is considered an im- portant addition to the art in the Capitol Hill group. % | resident of the National Academy of Design, Jonas Lie, contributed a large canvas of white birches in the snow, and from Hobart Nichols, vice presi- dent, has come an imposing canvas entitled “Tragedy,” which was shown last year in the Academy, a prize winner. Benson B. Moore of this by a color etching of “Pheasants.” Approximately 500 persons attend- d the dedicatory ceremonies on the evening of the 22d. So a new strong- hold for art and its propagation has been set up in the South and in a section where there is at present marked industrial development. Be- cause of historical association, the name of the mint has been retained in the title of the institution; the support of which is guaranteed by the people of Charlotte. Season’s Program Announced | By the W. S. F. A. THE Washington Society of the Fine Arts has announced four of its five lectures for the current season. They will be on “Spanish Art” by Prof. Walter W. 8. Cook of New York University, who was in Spain last Summer; on “Illustration,” by Luis Mora, illustrator, painter and teacher, who will make illustrative drawings in colored chalks and crayon before the audience; on “Design in Mural Painting,” with special reference to mosaics, by Hildreth Meiere, vice president of the Architectural League of New York, whose work in the Na« tional Academy of Sciences Building here is well known, and on “Recent Discoveries in Greek Art and Their Significance,” by Gisela M. A. Richter, head of the classical department of the Metropolitan Museum of Art, New York, and author of “Sculpture and Sculptors of Greece.” The fifth lec- turer will be announced shortly. All of the lectures this year, given under the auspices of this organi- zation, will be in the United States Chamber of Commerce Building and will be illustrated. In addition to this course of lectures, the Washington Society of the Fine Arts proposed to give, as usual, a dinner to some artist or person distinguished in the arts, to arrange for receptions to certain visit- ing celebrities from abroad and to sponsor again a unique exhibition. The purpose of the society is not only to foster and encourage art, but to bring together those who are espe- cially interested in pleasurable bene- fit and helpful co-operation. Tickets to the lectures can be obtained only through members, but membership is open to those interested, and a special invitation to membership is annually issued to newcomers. Application can be made to the secretary at 1402 Twenty-first street. Albert W. Ate wood is the president, George I Bowerman and Frank C. Baldwin, vice f. last year through the medium of be- quest. This tapestry, which is 12 by 19 feet in dimensions, represents a scene in the story of “Cupid and 1t is several hundred years old, and when it came to the Cor- coran Gallery of Art, it was found that a good many of the threads had been broken and to be saved much ex- pert work must be done. The advice of museum officials was secured, also of professional restorers in other cities, and finally it was decided to | have the restoration done in the Cor- | coran Gallery on a specially prepared frame and by two local workers. For- tunately there lives in this city at present Mrs. Emmy Sommer of Den- | mark, who was trained as a tapestry weaver in the Royal Tapestry Works. To her, direction and supervision of | the work of restoration was given, | and with her in this work was asso- | ciated Mrs. Natalie Scheffer, formerly | of Russia. a most expert embroiderer and needlewoman, who had already | worked for the Freer and National Galleries. These two, with one or two une trained aids. have reconditioned this entire gigantic tapestry, and in such wise that even those knowing where | to look can only with difficulty discern | in which spots restoration was re- quired. To all intents and purpos:s | the tapestry is as when it first came from the looms, and will last for a | long, if not indefinite, period. The i Corcoran Gallery of Art has had “be~ | fore and after” photographs made of | the broken sections, by which the need of repair and the skill of the repairs is made vividly manifest. This | is & notable instance of conservation. | | Ezhibition of Color | Etching to Open. | ()N MONDAY, November 2, an ex- hibition of color etchings will open in the Smithsonian Institution Building under the auspices of the Division of Graphic Arts of the United States Museum. The exhibite ors will be Miss Gabrielle de V. Cleme ents, Miss Ellen Day Hale, Miss Mare garet Y. Hoyt and Miss Lesley Jacke son. Three of these four artists are well known in Washington, from long | residence here, and membership in | the local professional organizations, To be sure, Miss Clements and Miss Hale both now live in Baltimore, but | city is represented in the print section | :‘e feeling is that they still “belong™ ere. | Both Miss Clements and Miss Hale are painters as well as print makers. | So also is Miss Jackson, her water | colors being held in high esteem. Bug | all three of these artists have in re- cent years been especially interested in color etching and have experiment= ed along these lines with exceptional success. Whatever they may have to show will not only be worth seeing but insistent with sensitive perception of | beauty and indicative of the artist's own personal point of view. Local One-Man Ezxhibitions. AINTINGS by Margaret Covey are on view at present and until No- | vember 23 in the Little Gallery of the | Intimate Bookshop, 3204 O street, and !in the bookshop of the Shoreham Hotel Mary Wade Moses is showing | water colors and a portrait drawing. Painting by Cassidy Purchased For the New Interior Department NNOUNCEMENT has been made | in the Art Digest and ElI Pa= | lachio, the organ of the Art Museum of Santa Fe, that a painting entitled | “Breaking Camp,” the work of the |late Gerald Cassidy, has been pure | chased by the Government for pere | manent placement in the new Interior | Department Building. The scene de- picted is on the Navajo Reservation at | Smiths Lake, near the Crown Point Trading Post, New Mexico. It is supe posedly the morning after a Yebechi, or healing ceremony, and the Indians | in attendance are seen breaking camp just before sunrise to go to their dis tant homes. Mr. Cassidy, who died in 1934 while superintending work under the P. W. A. P. in Santa Fe, gathered material for this painting during the Winters from 1928 to 1932, when attending various Yebechi ceremonies. He is said to have made hundreds of careful sketches of individuals and details. In the foreground are seen a squaw and a brave approaching; to the left, & squaw and a child squatting in the group; at a short distance are seen wagons, horses and other Indians in the general confusion that invariably accompanies breaking camp. Because of the inclusion of the In- | dian Bureau under the Interior De- partment, this would seem a very ap- propriate painting to be hung on the new building's walls. It is one of the few instances of the purchase of & painting by the Government which was not painted under direct com- mission or through relief rolls regu- Y