Evening Star Newspaper, January 16, 1937, Page 19

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By Leila Mechlin. HE Phillips Memorial Gallery has acquired a notable paint- ing by Francisco Goya, the great Spanish painter of the latter half of the eighteenth and early nineteenth century, one of the greatest of all time. It is a “Repentent Peter” and is representative of his last period. That the Phillips Memorial Gallery already possessed another painting of this subject by a no less famous artist of Spain, El Greco, increases the in- terest. Both are now hung in the library at short distances one from the other, and the contrast is very great. El Greco (1545-1614), who lived and painted approximately 200 years before Goya (1746-1828), emphasized the ascetic in his paintings of all saints and especially this one—whereas Goya is seen to stress the humanistic. X1 Greco's Peter is all spirit, Goya's of the flesh. In the newly acquired canvas, one sees a square-faced, bearded man of the people, capable of sinning much and repenting deeply—strong, implusive, & little coarse, but powerful, an old man suffering. His hands are clasped in supplication, his eyes raised to Heaven. Before the rock on which he leans lay the keys of Heaven. Goya is said to have been not only an impression- ist, but the forerunner of expression= ism, and certainly there is something very modern in the technique of this painting, something quite at variance with his earlier and more distinctly suave style. One sees in it more than & trace of the influence of Rembrandt, who, with Velasquez and Nature, Goya claimed as his only teachers. Goya, it will be remembered, made his appearance after a period of over 100 years of negligible attainment in art in Spain. He was peasant born, from Aragon, 2nd his life was a series of escapades and excesses. He was no friend of the church, and twice had 1o fiee, once from Msdrid, and once from Itsly, to escape the inquisition. But in 1799, he was appointed painter to the Bourbon Court. He had the creative gift in extraordinarily large measure. Not only was he a master peinter, but an etcher and aquatinist. In the latter flield his work was largely social and political satire of the bitterest sort, but, as a distin- etcher of today has . said, “its qualities as pure art Nft it to the high plane.” He was a prodigious producer. His “Caprices,” etched in 1793, are 80 in number; his “Diasters of War,” a diatribe of profoundly stirring character, comprise 82 prints. His courage was dauntless. But first and last, Prancisco Goya was an artist, and whatever he painted or drew or etched testifies to this fact. With him, subjective matter, regardless of import, never outweighed artistic con- siderations. Underlying everything he did was his power to grasp and use those fundamentals upon which all great art is based. The St. Peter, which the Phillips ‘Memorial Gallery now owns, is a well- known work, having been in the col- fection of Don A. Pidal of Madrid, mnd illustrated in works on Goya by Calleja and by Beruete. It is a valu- eble addition. ‘Alice R. Huger Smith’s Water Colors at the Arts Club. NO ONE who loves art or has had the good fortune to visit the old rice plantations of South Carolina can fail to find great interest and pleasure in the 30 water colors by Alice R. Huger Smith of Charleston, now on view at the Arts Club. To the mak- ing of these water colors, Miss Smith has brought not only artistic skill and keen perception but & knowledge of her subject, both personal and fra- ditional, which makes for authenticity end accuracy. In the preface to the book, “A Carolina Rice Plantation of the Fifties,” in which these 30 paint- ings are reproduced in color—and ad- mirably, Miss Smith says: “Throughout my life I have been trying to paint the rice planting sec- tion of South Carolina, that long strip of flat lowlands lying within the influence of the tides which extended to about 40 or 50 miles from the sea. The mershes, the fields, the forests, 142 canels, “the setulements,” and the maxny other marks of & greet indusury. kave boen noiec down by me for many RS, I LaVe WSS WL 07 LU Gkpe Pesr and the remnants ars vanishing, yesr by year. ‘Therefore, I have brotght nto a saquence some of my Notes and sketches for those who may be interested.” Bulletin of But Miss Sinith has done more than this, for she has recorded for all time and with particular subtlety, sympathy and veracity, phases of nat- ural loveliness peculiar to this section of our country. There is something very elusive about this beauty, as well as idyllic, and few (if any) have been able to capture it as has she. Obvi- ously it is & case of the skilled hand and the understanding heart. Again an artist, finding a worthy theme, has lost herself in giving it expression. And yet the personality of the artist is obvious in all she does, uncon- sciously and unavoidaoly so. But of the_ paintings themselves. What could be more cha: than “A Lagoon by the Sea” with its blues and browns, the mirror-like surface of the lagoon contrasted with the in- coming surf on the sandy beach be- yond, or more enchanting than the glimpses of swamps and forests given in “The Grove of Oaks” and “The Reserve in Winter.” In many of these paintings Miss Smith has introduced figures, workers on the plantations, sewing, reaping, shaking the rice, thus “Cressoniere,” etching by Pnllg the Division of Graphic Arts, Smi 1 GOYA WORK LOCAL TREASURE Water Colors Present Beauty and Charm of Rice Fields in South/ Carolina—Satire and Caricature Presented by Famous Exhibitor at Studio House. Constitution avenue, & group of paintings and etchings drawn the national collection. This grou comprises three very representative of]| paintings, one of the Yellowston| Valley, one of icebergs in the Nortk Atlantic and one of the Shoshony Falls. Although born in Lancashire, Eng land, Thomas Moran lived most of his life in the United States, being brough; here as boy of 7. He began his pro- fessional career as a wood engraver in Philadelphia, but was, as & painte:, chiefly self-taught. His brother, Edward, gave him the benefit of what education he had acquired. On & visit to England in 1862, Thomas Moran saw the paintings of Turner in the National Gallery and was pro- foundly influenced by them, but in-: herently he was too much of a realist to be actually carried away. Like Blerstadt and Church, Moran wag inclined to seek the grandiose in na. ture and among his best works are faithful transcriptions of our magnifi4 cent Western scenery. He represents Hill, on exhibition in Building. Kni hsonian bringing in the human element and recording a life that has vanished completely. These, in every instance, are made a part of the picture, but invariably the picture itself has beauty and charm. Finally, there is in these paintings by Miss Smith a sense of quiet and infinite calm, as of nature at peace with herself and with heaven, which is, above all things, the chief characteristic of the scene as it meets the eye of the discerning in the lovely Southland. After all, are not these paintings as truly in- terpretative of the “American scene” as those painted in Greenwich Village or of unsightly city suburbs? This exhibition continues to the end of January. Printsby a Florida Etcher. T IS interesting to note that while Alice Huger Smith of South Caro- lina is exhbiting water colors at the Arts Club, Polly Knipp Hill of St. Petersburg, Fla., is showing etchings in the Smithsonian. Of the 50 prints constituting this exhibition, a few are of Florida subjects, but the majority were done abroad and are of foreign themes. 2 Mrs, Hill was born in Ithaca, N. Y., in 1900. Her father was professor of physics at the University of Illi- nois, and she studied first there and then at the University of Syracuse, where she specialized in art. After a couple of years doing commercial work in New York, she went to Paris, where she studied painting, exhibited in the Salon, and met her future hus- and Mrs. Hill have held joint exhi- band, George Snow Hill, an artist. Mr. bitions in New York and various Southern cities. Prints by Mrs. Hill, “Country Auction” and “To Green Pastures,” both included in the cur- rent exhibition, have been published in “Fine Prints of the Year” in suc- cessive seasons. Thomes Moren’s Cenienary Marxer. WLSDAY, Jenuary L3, = L00W 3EmaWERaTy of whe u Teomas Moras, and ii commenarie tion of thiz event the National Gale lery of At has placed on esubiton in the lobby of the United States Na- tional Museum, Tenth street and Exhibitions CORCORAN GALLERY OF ART—Permanent collection, Barye bronzes. Clark collection—European paintings and sculpture. paintings, rugs, tapestries, lace, etc. Drawings by Sargent. American Forty- first Annual Exhibition Washington Water Color Club. Exhibition of sculpture by Paul Munship. Water colors by May Conly Schnaetzel. NATIONAL GALLERY OF ART, UNITED STATES NATIONAL MUSEUM—Permanent _collections, Evans, Gellatly, Ralph Cross, Johnson, Harriet Lane Johnson and Herbert Ward African sculptures. Two stained glass windows by John La Farge and other recent accessions. Oils, water colors and etchings by Thomas Moran, in celebration of artists’ centenary. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS— Exhibition of etchings by Polly Knipp Hill of Florida. FREER GALLERY OF ART—Permanent collections Whistler paintings, etchings, drawings and the Peacock Room, Oriental paintings, bronzes, pottery, miniatures, etc. NATIONAL MUSEUM, Tenth street Exhibition of wrought iron. and Constitution avenue— NATIONAL MUSEUM, Arts and Industries Building—Pictorial photo- graphs by E. W. Blew of California. MEMORIAL GALLERY—Permanent collection paintings by old and modern masters; also works in sculpture. Drawings and prints by Gifford Beal. Recent acquisition, “St. Peter” by Goya. STUDIO HOUSE—Exhibition of drawings by Aaron Sopher. TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA—Permanent collection rugs, tapestries and other textiles of the Near and Far East. Open Mondays, Wednesdays and Fridays, 2 to 5 p.m. Admission by card, obtainable at office of George Hewitt Myers, 730 Fifteenth street. ARTS CLUB OF WASHINGTON—Exhibition of water colors of a Carolina rice plantation by Alice Ravenel Huger Smith of Charleston. And photographs from American Annual of Photography, 1936. LIBRARY OF CONGRESS, DIVISION OF FINE ARTS—Exhibition of recent accessions: Pennell lithographs; drawings by American llustrators. Exhibition of original illustrations by Walter Appleton Clark—recent accessons. Pictorial photographs of the Statute of Liberty by Jeanette Griffith. INTIMATE BOOKSHOP, LITTLE GALLERY—Exhibition of water colors by Philip Coffin, Frank Letts and Col. Fitzmaurice Gay. ART GALLERY, HOWARD UNIVERSITY—Exhibition of work by Fellows. Guggenheim . PUBLIC LIBRARY, MAIN BUILDING—Water colors, designs and ceramics by local artists under W. P. A. MOUNT PLEASANT BRANCH LIBRARY—Prints by members of the Soclety of Washington Etchers. SOUTHEASTERN BRANCH LIBRARY—Paintings by members of Land- scape Club. NORTHEASTERN BRANCH LIBRARY—Paintings by members of the Landscape Club. LITTLE BLUE GALLERY, 2040 S street—Oils and prints by local artists at moderate prices. an interesting phase in the deveip- ment of painting in America. In 372 Moran established himself in lew York, and in 1884 was elected to ull membership in the National Acadmy. W. P. A. Art Workers Ezhibit At the Public Library. AT THE Public Library, main bild- ing, the current exhibition, on- tinuing throughout the month, on- sists of works produced under the W. P. A. Art Project by local worers, In cases on one side are shown pint- ings and drawings by adults, sni on the other, works by children wder instruction, while specially featired and set apart are examples of potery made by students at Howard Taver- sity, where a kiln has been se up. Allan Flavelle is represented b; de- tail sketches for a mural paintig in the ceiling of the District of Colwbia Children’s Tuberculosis Sanitalum. Bernice Cross shows sketches for murals in the Children’s Hopital. Others represented are Davi L. Morris and Hugh Collins by water colors; Allan Kroon by draings, Nicolai Cikovsky by a pastel and Richard Flesch by sculpture sidies. Mr. Flesch is making a marbl head of Chief Justice Marshall ad has modeled types for the Distct of Columbia marionette project. The children’s work has bee: care- “Repentent Peter,” by Francisco Goya (1746-1828), lately acquired by the Phtliips memorial Gallery. fully selected and in some instances shows very definite gift or at least aptitude. There are, at this time, 3,650 children under instruction in this Washington project. The ages range from 11 to 13 years; the pur- pose is to provide & graphic medium of expression and to open avenues to appreciation. Notable in the ceramic exhibit are & number of figurines done from sonal observation of danc: cians and those occupied w tic activities. Current Ezhibitions of the Washington Watercolor Club and the Society of Washington Artists. THE Washington Watercolor Club closes its Forty-first Annual Exhi- biiton in the Corcoran Gallery of Art on Wednesday of next week. The at- tendance has been exceptionally good this year and 13 sales were listed. The Society of Washington Artists will open its Forty-sixth Annual Exhi- bition in this same gallery on Janu- ary 30, which will be *“Varnishing Day.” Entry blanks must be sent in by January 20, and works pur- posed for exhibition delivered at the Corcoran Gallery of Art, New York avenue entrance, on January 22. A special prize of $100 is being offered this year for the work shown which shall be adjudged outstanding. The Little Gallery Shows Oils. URING the month of January there will be on view at the Little Gallery, now called “Blue,” at 2040 S street, a group of oil paintings by local artists who have already “won their spurs,” but are willing to sell their works at moderate prices—none more than $100. These include Rowland Lyon, who was a happy color sense; Kenneth Stubbs, represented by = handsome portrait sketch, Philip Bell, who shows still-life studies; Mar- gueritc Munn and Roland Wehrheim, each of whom shows charzcteristic ezamples. This gallery is cpen to the public from 2 to 5 daily, including Sundays, and on Tuesday and Friday evenings from 7 to 9 o'clock. Flower Paintings on View ot the Shoreham. thSS ELIZABETH MUHLHOFER is showing throughout the month @ group of 18 of her flower and still- life paintings in ofl and water colors at the Shoreham Hotel. Miss Muhl- hofer is a member of the Society of Washington Artists and the Wash- ington Water Color Club, and has been a frequent prize winner in these and other exhibitions. Satire and Caricature By Aaron Sopher. OVERS of caricature, specifically social satire, will find interesting and stimulating the exhibition by Aaron Sopher, which opened at Studio House January 7, to continue through- out the month. Approximately 100 drawings fill the hall and large front gallery, and overflow into the rear gallery. The majority of the drawings are small, some of them being only an inch or two in size, with the largest, perhaps, 10 or 12 inches in dimensions; hence, they invite close scrutiny, and will be found packed with dynamite. People never recognize themselves in caricatures unless the latter are care- fully labeled, but they are usually keen in recognizing other persons, as far as types go, which is all to Mr. Sopher’s benefit. In holding up to ridicule and scorn the foibles and vices, to say nothing of the physical imperfections of his fellow man, Mr. Sopher is exemplify- —Woltz Photo. ing an old tradition, which began with the Egyptians, and perhaps earlier. A large mafjority of his drawings in the current exaibiticn are pen draw- ings, in outline; some cf them have had the sddition of & wash in one or more coiors or ini; there are also a few elchings, drypoinis and ltho crayon drawings. Some critics have compared him with Forain and Daumier, but to the present reviewer he seems more akin to Georg Grosz, | internationally famous German cari- caturist, who came to this”country a year or two ago. Mr. Sopher is not S0 savage as Grosz in his indictment of the human race; nevertheless, he exploits, with considerable success, the greed, ignorance and brutality, and more frequently, perhaps, affectation and pretense. In studying the draw- ings, one recalls Albert Jay Nock's query of scme years ago: “Are human beings human?” A large number of those who inhabit Mr. Sopher’s graphic world would seem to answer it in the negative. He is master of a highly expressive ! and economical line, with which he can pungently round out an over- indulged paunch, a sagging throat overwhelming its diamond choker; & greedy gesture, a ribald pose. In a few of his works, such as the bitter little etched vignettes of crippled war veterans, entitled “Making the World Safe for Democracy,” and the hopeless figures of unemployed men wandering to and fro before a factory fence bear- ing the notice “No Help Wanted” (lent by Mrs. McCook Knox) one catches what seems to be a glimpse of strong personal indignation on the part of the artist over such a state of affairs. But his viewpoint con- cerning most of his “victims” is not readily discernible, other than the fact that he considered them ridic- ulous, hence proper subjects for a Mellon Ncted for Great Modesty and No Evidence of Wealtl Put| Into His Daily Contct With Busy World Philip H. Love, a membenrf the ecitoric? sic of The Siar,’s the auinor of “Ansrev W. ilelor Tas afcn we An e e o be achieved. Although rated as the third richest man in the United States, he still was virtually unknown outside of the business and financial circles in which he had spent most of his 66 years. Among the working classes, ‘which make up the bulk of the popu- lation, he was, in fact, the least known of all the major public officials in cZice 2¢ the time. To the ccbmen— = as appesrance, MUst have bean sbout &s unfamilisr &s an Einstsin equation. P YOU would understand how s man of such great wealth—his for- tune has been variously estimated at anywhere from $600,000,000 to $800,- 000,000—could remain so little known to the general public, you must know something of his character, personal ity and background. Andrew William Mellon was born in Pittsburgh on March 24, 1855. His father, Thomas Mellon, had come to this country from County Tyrone, in Northern Ireland. Settling in the ‘Western Pennsylvania city, and mar- rying Sarah Jan€ Negley, the immi- grant took up the practice of law, later becoming judge of the Allegheny Court of Common Pleas. ‘Thomas Mellon, true to the instincts of his Scottish ancestry, saved his money and invested it in enterprises ‘which seemed to him to hold possibili- ties for future profits. By 1869 he was in position to retire from the bench and establish a private banking house. It was not long before his friends and business associates were rating him as & millionaire—“Perhaps justly s0,” he conceded. PFrom his earliest boyhood, Andrew Mellon was trained for a career in finance. His father not only instructed him in such elementary subjects as reading, writing and arithmetic, but worked constantly to give him a firm grasp of the rudiments of business in general and banking in particular. This home education was supple- mented by several years in the public schools, followed by an uncompleted course at the Western University of Pennsylvania (now the University of Jollowing article is a bricjstudy of e peremeicy, casrecdy end career of the Pittsburgh multie millionaire, whose gift to tk peo- ple of the Nation promises § make Washington one of the wvorld’s greatest art centers. By Philip H. Loe. T WAS a rainy day in Apil, more than 15 years ago. A taxicab drew up fothe curb on the Fifteenth streei slle of the Treasury Building and a digt, gray- haired man stepped out. | “Two-eighty,” the drivejamounced, slapping the flag on tl# aximeter back into place. The well-dressed “fare’ reached into a pocket of his careiuy creased trousers. His lean face rddened as he exclaimed: “By jove! I've come ouw Hthout my ‘wallet!” “Old stuff,” the hacke sneered. “Come across with the jak—or I'll call & cop!” “There is no need to lothat,” the embarrassed passenger iad quietly, “Just wait a moment, and 1l send the money out to you.” He stated up the Treasury steps. “Nix!” the cabman criedseizing the stranger’s arm. “I'm wse to that game. In this door and ut another, eh? Nothin’ doin’, kidd/ “But I'm Secretary Mdin—" “Yeh—and I'm Cleopra! Don’t try to pull that stuff oo me. I'm wise—see?” Recognizing the futilty of arcuing further with the excitef tiximan, the cabinet officer sent a fevspaper boy into the Treasury withinstructions to “tell my secretary, M. Sixsmith, to give you $2.80 for Mr.Mellon.” A few minutes later he was ple to purchase his freedom from pletely flab- bergasted driver—why by this time, was spluttering ond apology after another. But the hacker’ stupid as it may After all, Mellon of President Hard short time, and greatest Secretary since Alexander H Pittsburgh). JUDOE MELLON'S training was so thorough that Andrew was ready later, because it enabled him to get out of making a graduation speech. The lumber business, set up with money borrowed from his father, was successful from the start. Sufficiently 5o, at any rate, to enable Andrew and Richard to repay their father’s loan with interest and then to sell the enterprise 2t a profit. Pleased by the outcome of the ven- w jein o we bexaing bu Azc, Corple S JOULD 30 Laperi- exos, Azdrew was Zivex authority w grant loans as he saw fit. The benk of Thomas Melon & Soms, whicn subsequently became the Mellon National Bank, with Andrew as its president, was conducted on & plan somewhat as follows: Find an honest man who is capable of running a business. Give him all the capital he needs, taking shares in the enterprise and giving him free rein to conduct it in his own way. When the loan is repaid, do the same thing for other men of the same type. Thus, opportunity is given to men de- serving of it, and they, in turn, pro- vide employment for many others. TmUOB adherence to this prin- ciple, Andrew Mellon took his father’s fortune—placed under his management when the elder Mellon retired—and multiplied it many times. Using this wealth as a sort of revolving fund for the promotion of enterprise in the Pittsburgh area, he invested in steel, railways, linseed ol, traction, ‘water power, construction, coal and coke, insurance, electricity, plate glass, locomotive, ships, iron castings, sta- tionary engines, motor trucks, gun carriages, steel cars, towns, whatnot. From an office on the second floor of the handsome Mellon National Bank Building, which occupies an en= tire block of Pittsburgh’s busy Smith- fleld street, he airected the affairs of this vast industrial empire. He car- ried on his activities so quietly, how- ever, that the hugeness of his fortune and the extent of his influence were scarcely even guessed outside of the business and financial circles in which he moved. Shy to an almost painfui degree, Mellon went to great lengths to avoid the spotlight. He did not wish to be & great public figure. He did not ask for the Treasury portfolio—it sought him out. Warren G. Harding, after his elec- tion to the presidency in 1920, found the Treasury secretaryship the most difficult of all his cabinet posts to Al satisfactorily. “I'm up a tree,” he confided to the late Philander C. Knox. “I've decided F rien L dly Ways |Showed- Remarkable Talent in Business Circles From Early Days. plied, “is And.rev_ Mellon. He is the ablest fnancier the counuy, end Nl make & Zcai Scerewary of we . | Treavuny.” ACCEPT tae appointmens, Mels resigned directorates =n =S With 4% aggregate capital of more than $2,000,000,000. In Wash- ington, he made no attempt to live within his $15,000-a-year salary as a cabinet officer, occupying a 16-room apartment on fashionable Massachu- setts avenue and spending huge sums for the art treasures which he is now turning over to the public. In his personal habits, however, Mellon has always been unusually abstemious for & man of such vast financial resources, which, perhaps, accounts for the fact that at 81, he still is as vigorous as many a man 20 years his junior. Passing Mellon along the street, you ‘would never suspect him of being one of the world's richest men. He dresses neatly, but not in a manner calculated to attract attention. Despite the incident with which this article opened, Mellon does not often ride in taxicabs. If he rides at all, it is usually in one of his several high-powered cars, one of which is the only all-aluminum automobile in the world. Weather permitting, he pre- fers to walk. In fact, walking is well up on his list of favorite diversions. ‘While attending one of the annual dinners of the White House Cor- respondents’ Association, Mellon was called to the telephone outside the banquet hall. A girlish voice said: “Is that you, dearie?” “Whom do you want to talk to?” Mellon countered. “I asked for Mr. -" The woman mentioned & correspondent. “This is Andrew Mellon.” “Do you know if Mr.—— is there?” “I'll try to find out for you.” “Never mind—you'll do. Will you take a message for him?” The message was to the effect that Mr.—— should come to a ocertain apartment immediately after the dinner and bring several “boy friends,” because & number of “live " were on hand, a boot-legger had @elivered plenty of “good stuff,” and everye thing was set for a “swell time.” In his meticulous way, Mellon listened attentively, jotted down the gist of all the caller said, found the correspondent and—reading from his notes—delivered the message. 1] o lon “Lincoln Memorial,” done for the Treasury Relief Art Project by Aaron Sopher, who is now exhibiting at the Studio House. good laugh. This is the case with “Lafayette Square, Christmas, 1936,” showing a rear view of the Jackson Statue; “Water Gate Concerts” of last Summer, several drawings of the “Cheer Center, Baltimore,” where down-and-outers amuse themselves listlessly in a room displaying bulletins announcing a “Cheerio Bible Class” on Sundays. Occasionally Mr. Sopher portrays a specific person, as in his excellent likeness of Maxim Gorky (a straight- forward portrait), and his telling cap- | tures in caricature of John Lewis, Herman Goering and Hitler. But in most instances his “heroes” ere types —rat-faced race-track touts, cigar- chewing political bosses, bony old men endeavoring to hide their senility with s rakish air; leering “sports” in s burlesque show; sailors ashore with their “girl friends.” Some of his fa- vorite “heroines” are corpulent dow- agers, staring through lorgnettes. He depicts many lunch-counter and res- taurant scenes, where his models all feed instead of eat. And he gives a | Dew twist to the “cruely to children” theme, in several representations of infants in the arms of people obvi- ously not their parents, but apparently baby-kissing politicians, hideous old grandmothers and others who would seem sufficient to incite a child to permanent hysterics. Mr. Sopher is & native of Baltimore, born in 1905, and obtained his educa- tion, both general and art, in that city. He attended the Baltimore Polytech- nic Institute and the Maryland Insti- tute of Fine and Applied Arts, ma- joring in fine arts and illustrating. He has exhibited in various places in Baltimore: the Maryland Institute, the Friends of Art (having been the re- cipient of its Welson Livering Smith Memorial prize for etching in 1934), the Museum of Art, Women's Club of Roland Park, and the Junior League Gallery; he has also exhibited at the New York Public Library, and Studio House, Washington, D. C. His draw- ings have been published in the Bal- timore Evening and Sunday Sun (and have won first prizes and several hon- orable mentions in the Sun's annual sketch contests); the New Yorker, Collier’s, Life, Sportsman and New Masses, and he has been rep- resented in the third and fourth New Yorker albums. He has worked on the C. W. A. Art Project, drawing in a C. C. C. camp, New Germany, west- ern Maryland, 1934, T. T. A. P., under Works Progress Administration. Some of his work in the present exhibition was lent by the Treasury Department Art Projects. —F. L. B. Three Water Colorists Ezhibit in Georgetown. N THE Little Gallery of the Inti- mate Bookshop, 3204 O street, Georgetown, there opened on Janu- ary 6 an exhibition of watercolor paintings by three artists, Mrs. Philip Coffin, Mrs. Frank Letts and Col. Fitz- meurice Day, to remein until Febru- ery 6. Zach artiSt LhaS Conwniou i g5 W W exnbivea of 3T, whiC: S Siown &S One STOLA 3 ey, IoTmerly mallary avacae of e British Embassy, took up &It sppar- ently as an avocation, end Is entirely selfetaught. Mrs. Letts stucdlied with Robert Franklin Gates of Studio House, and Mrs. Coffin studied abroad. At the preview and tea on January 6, attended by distinguished guests from diplomatic and social circles, 11 paint- ings were sold, and six orders given for reproductions. Mrs, Coffin and Mrs. Letts show a similar taste in subject matter, favor- ing old houses, barns and industrial buildings, stark trees, etc. Col. Day shows the larger number of land- scapes and betrays a taste for sub- Jects attractive in themselves, such as the old houses of Charleston, S. C.; Florida landscapes with feathery trees, and colorful skies and marshes. He traveled extensively last year, to judge by the localities of his paintings dated 1936—Canada, South Africa, Baltimore, Charleston, unless perhaps he painted some of these from earlier sketches. Two of the best of his paintings are “Silence— Rock Creek,” depicting snow-laden branches interlacing in interesting pattern over the snow-choked creek, and “Dogwood,” branches in the fore- ground through which one sees a vista of an old barn and trees. In naturalism of form and color and precise handling, Col. Day’s paintings generally, are characteristically Eng- lish, Mrs. Coffin’s painting is broadest in handling, most simplified and also (with the exception of her “Lake Como”) deepest in color tones of the works shown. There are seven or eight pictures of Georgetown by both women painters. Mrs. Coffin’s “Little Yellow House, Georgetown,” is one of her best, also her “Corner Shop, George- town,” with its strong reds and mustards. Of Mrs. Letts’ work, “Twenty-Ninth Street,” “Along the ‘Water Front” and “Old Barn” are out- standing. Local Eichers Make Fine Showing. qmsmuwmmmm«-, organized in 1933, is currently exhibiting 27 prints at the Mount Pleasant Branch of the Public Library. Thirteen artists are represented, with from one to three prints each. Several types of work are shown—etchings, 1 black and white, also in colors and drypoints. Subject matter is varied, including landscapes, river and harbor scenes, architectural subjects, birds, interiors, plants and a portrait. But there is complete unanimity as to character—all of the work shown is in the traditional mode. Ruel P. Tolman, president, shows & large etching of a Colonial porch seen through a frame of trees. (Ab- sence of a catalogue made it impossi= ble to obtain the titles of all the entries.) It is reminiscent of the south front of the White House. Inez Demonet is represented with three etchings, “All Hallows Guild,” “All Hallows Gate” (particularly attractive, with & spacicus vista scen through the gate) and “Ponte Vecchio, Florence,” all beautifully executed. Another pice turesque foreign subject is “La Vieille Maison, Rouen,” by Frederick West- man, who also exhibits an etching of & wharf. Gabrielle DeV. Clements and Ellen Day Hale, long “masters” of the color etching, are represented with exquisite prints, alihough not recent ones, so far as can be judged. Miss Clements’ print of rowboats in a cove is dated 1896; but its colors seem as fresh as it just printed. She also shows “Charleston Roofs,” in a soft and deli« cate color harmony. Miss Hale con- tributes “Megido,” a “tone poem” in lavender, blue, yellow, and green, all of which colors merge into one an- other. A second entry by this artist appears to be an evening view of Santa Maria della Salute, seen across the Grand Canal in Venice. Lesley Jackson's “Sparrows in Winter” is a color etching in white, brown, and blue-grays, markedly decorative, and reminiscent of Japanese work, in handling of the subject matter; en- tirely charming. Her “Old Landmark in Georgetown” (Washington's head- quarters) is equally attractive, but in a different vein. Still another contributor of color etching is Benson B. Moore, who shows “Jungle Fowl,” on a branch, against an unrelieved white ground. His strong colors and crisp handling afford a contrast with the other color etchings. He also shows two mono=- chromatic etchings, “Old Wharf” and “Mallard Drake,” in both of which his velvety dark tones and contrasting lights show to good effect. Court (Continued From Page B-1.) removal of the Senate from the quar- ters it had occupied for 50 many years. With the exception of that period directly after the burning of the Cap- itol spent in temporary quarters, the United States Senate had occupied this chamber since 1810, and the Su- preme Court, excepting the same period of reconstruction, had occupied the chamber undemeath it. Now, With tae yemoval of tae Srate w Wi wiig of Ca e Uslwe ~ > S Lkl QW wie 0iC Sendwe Caamber ang rew mained in this chamber until its ree moval & ths Spring of 1935 w s palatial new quarters in the Supreme Court Building opposite the Library of Congress. BE’P‘OB.E the Senate vacated the chamber, in 1859, Mr. Crittenden asked permission of Vice President Breckinridge to “be indulged a few words of parting from this chamber.” What he said on that occasion could as well be applied to the emotions the various justices must have felt who last year were called upon to vacate the same scene of past ace tivities. “Many associations, pleasant and proud,” said Mr. Crittenden in 1859, “bind us and our hearts to this place. Mr. President, we cannot quit this chamber without some feeling of sacred sadness. Sir, great men have been actors here. The illustrious dead that have distinguished this body in times past naturally rise to our view on such an occasion. This hall seems to be a local habitation for their names. This hall is full of the pure odor of their justly earned fame.” ON DISPLAY Fine Old Bronzes and Vases for Japanese flower arrangement. ASIAN ARTS 1143 Connecticut Ave. ABBOTT SCHOOL e FINE AND COMMERCIAL New Classes Start Monday 1143 CONNECTICUT AVE.

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